You know, songs often have a very coloured past. They might have something about them but it still doesn't work, so someone else adds a bit, and someone else adds a bit so perhaps one day I'll know its full history.
I know every Skynyrd and about all Johnny Cash songs.
To come to a concert and hear a lot of songs from a female perspective should not make men say, 'Oh well, that's for women'.
I learn my songs by ear.
I didn't have a lot of overtly political songs. I think it was more the actions of the group that were threatening to the authorities, and also our political philosophies apart from the music.
The spiritual quest was always the predominant aspect of my life. It's always been there. But there's also an incredible passion connected to it; it's not just a dry investigative process. I have been extremely emotional about it, and that comes out in the songs.
Songs like the Buck Owens tune, for example, are very simple and straightforward, and recording it really gave me a chance to get into and get a sense of Buck's personality, a feel for that whole Bakersfield sound.
We all have, in my family, what we call the 'Vorderman bottom' - a sticky out, bigger-than-normal, signature, of the rear variety. It's been a family joke all our lives - even my lovely brother has one. I know the lines to all the good singalong big bum songs.
Sometimes I wish I had taken the Bob Dylan route and sang songs where my voice would not go out on me every night, so I could have a career if I wanted.
It was just like a dream. I could have ended up with an album that's not all that different from anything else coming out of Nashville. Mutt made the difference. He took these songs, my attitude, my creativity, and colored them in a way that is unique.
I like people who tell stories. I like storytellers. A lot of my songs are misconceived as being auto-biographical when they're not because I write in the first person.
I sang the songs in 'The Doors'.
It was a very bizarre experience for me, to get the songs together, go in there, and try to deliver them as I would perhaps in a live setting. But I realized that I couldn't take on that coffeehouse style that I came from and go in there and burn it up.
I can't be bothered anymore about giving songs titles.
Dan Harmon has this idea that characters on TV are allowed to talk about their favorite movies and TV shows and songs.
It's very fun to be the hunter of the sounds. The hunter of the right energy. And it's not really about if every sound is correct; it's more the energy - if it hits you in some way, it doesn't really matter to me if it's not perfect. I'm still very excited while hunting for songs.
I can only say thank you and thanks also to all of the great songwriters who wrote those wonderful songs that became number ones.
DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.
We play our Irish songs a bit more loosely.
Sometimes, I don't like making emotions your career; something about it is kind of gross. But, at the same time, I want to move people the same way the songs make me feel.
People like hearing songs that sound like something they've heard before, that's reminiscent of their childhood and of what their parents listened to.
All the songs we do are basically about one of three things: booze, sex or rock n roll.
I'm such a strong believer in making yourself happy. Almost in a selfish way. There are a lot of trends, and obviously you can get swept up into them. But I feel like if you just write songs you love, it can have trap beats in it or whatever's going on in the moment, but you don't stop loving songs.
I mean, Tool has a style, but we try to make all our songs sound different from each other.
I don't think I always look in people's faces, like, as - I think especially when I'm doing my more intimate songs that are quite personal, I always feel it's a bit accusing if I stare in someone's face when I singing quite a personal lyric.
I started writing songs at age 15.
It is jazz music that called me to be a musician and I have always sang the songs that moved me the most.
I wanted to put a sheet in explaining what all the songs are about, but they didn't do it.
I feel that Jane's is really a vibe and a time. It wasn't like we were the Beatles. We didn't have crafty pop songs where it sort of didn't matter who played them because they're just really great songs.
You get older and come to the conclusion that it's a great gig making music. Even if you turn into an old gnarly fart, no one cares what you look like if you write good songs - the only gig is to sing well and perform.
It creates a conflict of interest - what songs would I use for me, and what would I use for the band.
The only thing they really get to pick is the single. But I get to pick the producer, the songs on the record, the final masters, the artwork. Basically, I hand them a record.
I'm not the type of artist that's like, 'Let's go out and party and dance your life away!' I think those artists are so cool, but I wanted meaning in my songs and they have messages.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it. I felt a calling.
The funny thing is the songs that people think are about me probably aren't. And the songs that are probably are the ones they wouldn't think... so that's where it kind of is funny.
My earliest attempts at writing were when I was seven. I would sit at the piano and transcribe the songs I heard on the radio. I'd change little things in the music and write different lyrics.
