In college, I thought I wanted to be solely an artist, and then when I got here, to college, I was like, "Okay, well I want to be a songwriter," 'cause it was like close to Nashville.
I guess it's just my job to somehow balance knowing that every song is going to come differently and be different, but also know that, on the other hand, I am a songwriter and I am a craftsman, and I do have a craft and a technique and a method. So I need to balance the technique and the method.
As a songwriter, your songs are, in a way, like your children - you want them to be appreciated.
I'm a songwriter. I've got ideas in the closet that just didn't work out with my band, that I think, "This is a great idea, it's just the wrong guys."
When you perform live, it's a different trip - it's different energy. I just felt a conflict between both of the trips. I was trying to evaluate what it meant for me to be a singer/songwriter and what that whole thing all meant.
The trip had become boring. It wasn't exciting anymore to totally be a singer/songwriter because it wasn't working for me.
Then it evolved into more of a ballad style singer/songwriter thing. And there was a conflict in trying to merge the two styles with the same band behind me. 'Cause the musicians that I would need to do ballad-oriented tunes would require musicians who were more into jazz.
It was like I had evolved to a certain stage where I was stuck in this songwriter bag as an image. But basically at heart, I'm a rocker. And I still am. But I was caught up in the singer/songwriter bag and I wasn't really enjoying it.
The most rewarding possible thing that a songwriter or an artist of any kind can experience is to hear firsthand from the mouth of somebody else that they don't know the weight or gravity or intensity that something they've made has brought out in somebody else's life. It's simultaneously flattering and humbling. It makes me so thankful that I've been so lucky to be able to do this work.
I just figured if I'm going to call myself a songwriter throughout my life, then writing for most genres of music is something I should at least attempt.
I think Bob Dylan's a good songwriter. I think he's the best songwriter in the world probably.
I wanted to honor [George Gershwin]. He's a great American songwriter.
As a songwriter, the minute you start having sex, you can totally see the difference in the writing. You become an adult - that's kind of the whole backbone of it, really, your identity as a person and what sex means to you.
People don't tend to notice, but in the past 10 years especially there's been a lot of growth in how I write songs and what goes into them. You can listen to Mountain Goats from 1991 to 2007 and never hear a seventh chord. In 2007 or 2008, I started working on the piano to grow as a songwriter. I started throwing major sevens in and sixes and more interesting stuff.
I was sixteen, I became a working guitar player gigging in LA, mostly in top 40 bands, then touring. I learned to take songs apart, down to their bones. Songwriters would hire me to produce their demos, which lead me to become a songwriter. The relationship and power music has to TV and film attracted me to composing [and] I learned to write for instruments other than guitar.
Songs come when they wanna come and I'll work at it when I feel like working at it. There are some songwriters that write every day, and I'm definitely not one of those guys. I don't know if that's a good thing or a bad thing. It's just kind of what I do.
I just love all the music. My grandma was a church organist for 40 years, and she got me into jazz music and great songwriters, Harold Arlen, George Gershwin, all those folks. I can't do it, but I have a profound respect for it.
Any pianist and singer/songwriter would say "Carnegie Hall." It's such a legendary place. I'd love to play at Carnegie Hall. That's definitely dream of mine.
My aspirations and dreams keep evolving. I think dreams evolve and I want to become a better songwriter. I want to do more collaboration within my genre and I want to continue to make records. I want to just keep getting stronger as a musician and make movies.
Being a better songwriter, that's top of the list because I think that is a very intimidating, difficult task. I really admire people that just continue to write and get stronger.
I think perhaps people don't dig deep enough when they're looking for covers, so you get the same things covered over and over again and there are 'go-to' songwriters that people choose.
I'd like to talk to Bob Marley. I'd just like to ask him what was his method. Bob is one of the greatest songwriters ever. I don't know if people understand how powerful his songs are and the simplicity and genius behind them.
What was nice about the nineties is that it was an example of music that responded to a desire of the times. It spoke to the social conditions of the times. Women were making more money. Women were saying, "My voice counts. If we're going out on a Friday night, I don't want to see a Rambo movie. I want to go see a singer/songwriter who sings about my life".
Adam [Cohen] is a great singer-songwriter in his own right.
I think that any songwriter - and I think that Bob Dylan knows this more than all of us - you don't write the songs anyhow.
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