Zitat des Tages über Songwriting:
The best songwriting comes from being as creative as you can and editing it down to the good bits, essentially.
I enjoy recording and performing, but it's the songwriting that I love most.
I think you can't really beat Bob Marley, especially the stuff he was doing with Lee Perry. Just that kind of clubby and dark and crazy stuff, even with the Wailers... Some of the songwriting was phenomenal.
I look at bands like the Beach Boys, Hall & Oates and Blur, and those are the bands I want to be in company with because their songwriting is intelligent, and yet you don't need to be a musical genius to pick it up.
But if you want to be a songwriter-based musician, whether you play punk or rock or country or jazz, whatever, you have to work on your songwriting and you have to work on being able to play in front of people, I think. That performance is how you create the groundwork for a lasting career.
Because of my interest in songwriting, I was invited to visit a friend in L.A. for songwriting sessions with him and his friends. We wrote six songs by the end of the weekend, and 'Hide Away' happened to be one of them!
As far as songwriting, I'm not sure if they wrote all of their own stuff, but I love the Dixie Chicks.
It wasn't so much that I had to leave to make it in the music business as I was curious to be out on my own and sort of explore. I never felt that where I was ever influenced my songwriting.
I love music, so if I wasn't singing, I would probably still be working in the music industry. I love songwriting, so I'd probably be a songwriter.
Songwriting is kind of like a craft. It's not something that just comes in a dream. You've got to work at it.
Songwriting is different from music, although I don't deny now that it would be nice to have a little more background in music theory.
I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
I stand firm behind the belief that, for me, songwriting isn't something that I do or command, it happens to me. I can either choose to stop and acknowledge it, or put it off and hope that it won't fade away. 'That Wasn't Me' is no exception - it came together more quickly than any other song I have ever constructed on my own.
I wanted to be part of pop culture, so I started songwriting, and I got signed to my first record deal.
We have that storytelling history in country and bluegrass and old time and folk music, blues - all those things that combine to make up the genre. It was probably storytelling before it was songwriting, as far as country music is concerned. It's fun to be a part of that and tip the hat to that. You know, and keep that tradition alive.
I love songwriting. It's second to my love for singing in how I express myself.
I don't really premeditate what I write my songs about; you know, they just kind of happen, and I can't start writing songs to please a certain group of people or propagate a certain message all the time. That's just not how my songwriting works - it just sort of comes out, and the songs are what they are.
I think probably the only thing that is around in these songs is that I was really lonely when I wrote a lot of them. But it was really by my own choosing because I was devoting myself to songwriting and dancing and I wasn't really going out and seeing people.
Songwriting is the other weight on the opposite side of the scale from touring. They balance me out creatively.
That is what intrigues me; songwriting and song structure and expression.
For me, songwriting is something I have to do ritually. I don't just wait for inspiration; I try to write a little bit every day.
For me, songwriting is really where it's at. I turn to use the guitar just to help me write the songs. That's it. As a result, my guitar playing suffers pretty horribly.
Traditional songwriting, to us, is where the experimental nature comes in. We're all involved with so much outside activity with really hardcore, experimental music-making.
My songs are basically my diaries. Some of my best songwriting has come out of time when I've been going through a personal nightmare.
That's the great thing about songwriting: You have that time to have perspective and look back and think about all the things you'd want to say.
I struggled with a lot of doubts around my songwriting and around what I was and what my purpose and mission were.
The songwriting was almost like something I did while I was waiting for my daughter to come back.
The idea of songwriting is a transformative thing, and what I do with songwriting is take situations that are quite ordinary and transform them in some way. Apart from things like the murder ballads, the songs I write, at their core, are quite ordinary human concerns, but the process of writing about them transforms them into something else.
I do feel pressure internally and externally to put out music, but that excites me because I love songwriting, and this brings me back to why I got in music in the first place, so I'm excited about that.
Performing is the easiest part of what I do, and songwriting is the hardest.
All of my songwriting success happened within a four month time span, and my record label deal happened within the next three months.
You always try different versions of yourself through songwriting. It can get a bit annoying to see them walk around and do their thing when you feel like, 'I'm not that person any more.'
To me, the guitar is a tool for songwriting, and it's fun, too. The day that it's not fun, that's when I'm not gonna play guitar anymore.
I draw the line at letting people into my songwriting cave. To me, that's where the alchemy happens and where the mystery is.
Songwriting is my gift from God.
When you have kids, you see life through different eyes. You feel love more deeply and are maybe a little more compassionate. It's inevitable that that would make its way into your songwriting.