I can understand someone not liking the voice or the songs.
I can't play my songs on the smaller harp. I have a Celtic harp. I can't do the key changes.
I have a recording that I did of instrumental songs.
I have writing songs on my own for about six years.
I wanted to write songs which I think is a different thing. I wanted to write music that is informed by folk music. The chord progressions are obvious references.
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.
Just the other day I pulled out this old cassette of Ragged Glory and I popped it into my cassette player and I was digging it. They were just a great rock and roll band, one that presents the song ahead of everything else - there's no grand idea or concept behind it.
I just try to tell a story with a song, and be able to try to transmit the emotion to you. That's all I'm really trying to do.
It's interesting to do other people's music - that's how I learned to play, by learning other people's songs. It's nice to delve into how other people got to where they are.
My favorite period is when we lived in the land of the three-minute song. The Motown thing - I thought they were genius in knowing that's as much as a listener can take.
I started recording because I was always complaining about the records that I was getting of my songs. At least if I did them and messed them up, I wouldn't have anyone else to blame.
I've written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.
I enjoy singing my songs in front of people. I enjoy being involved in making the artwork for albums and stupid stuff like that.
The first four and a half years was me in the studio every day, writing songs for other people. I had jobs, too - eleven jobs. I worked at Kinko's, Fatburger, Subway - I was a sandwich artist - and I was a claims processor at Allstate Insurance.
I've written probably over 200 songs that have a verse and a chorus and that's it.
A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things - or you'll have to search more to find the interesting things. But I also think it's exciting.
Each song, you're telling a story and acting.
One of the first times I ever performed in front of a big group of people was at my kindergarten graduation. I did, like, a Michael Jackson impersonation as, like, a five year old. I had the suit and blazer, the glove and the fedora, and I just performed a whole Michael Jackson song. I'm sure it was 'Smooth Criminal.
Robert Burns enriched Scottish song with his genius and is mainly responsible for the rich treasure house of song that we enjoy today. He collected folk songs, retained the melodic line, kept what words were usable and rewrote the rest. He didn't claim ownership.
I really didn't think about song writing.
We really try to make sure that the band writes the songs, not just one person.
The main issue was deciding what to play: Should it be old Ramones material or new material? I had about three albums worth of new material, but I knew that people would rather hear the Ramones songs.
I think with any songwriter the first 1,000 songs are always terrible.
I think 'All Out of Love' is my favorite song because it's been the most successful. It's been in about 30 movies, it's been a number one record, and it keeps getting played on the radio, it's always somewhere.
I think about everything first. I think about the scenario: the story and the characters, what I'm trying to say and I'll think about that for a couple of days until it's all locked in and then when I get to an instrument it'll just fall out. But the song's kind of all ready there in my head.
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