Live we're a lot louder and noisier on the album. I think for the album we took a lot of time for the songwriting and we wanted to make good pop music, and I think there's plus and minuses to doing pop music and noise.
You can be born into a musical family and have an ear for music but being technically gifted, be it playing an instrument or songwriting, takes years to get good at. So for me, I'm excited to start over, and yeah, I have a few talents I can build off of. But I see this as a long process; it's a marathon.
I would like the ambition to go directly into songwriting; individual songs. I want to see what I can do to push myself sonically with songwriting. I'm excited to have no parameters. When the idea shows up and I execute it to the best of my abilities and then I'm done.
The thing that interests me far more than anything is creating music, songwriting and arranging, and in that context drumming itself is a means to an end. I think it's really easy to forget that - I'd sooner play something musical than flash, and as I can't play anything flash, I try to be musical. Drums can set a mood, create an impression, as much as anything else.
I love songs, and I love songwriting, and there's a standard of songwriting within Chicago blues in particular. I don't like the sad blues, necessarily; the Chicago blues is what I like, which is the kind of blues you can dance to.
I've come to recognize songwriting as something that I do, and I want to be good at that. At that craft, if you like. I want to practice it.
There's a standard of songwriting that, when you start immersing yourself in those types of songs, it raises your own bar as a songwriter. There's also simplicity in the songwriting. It's much harder to be simple than it is to be complicated.
Songwriting is never one thing. I've spent as long as three months writing a song. Other times I've done it in twenty minutes.
I couldn't say there is a formula to songwriting. Each time is a unique experience.
I miss working. It's real, you know? But I don't know anything but songwriting, and I don't even know that. I didn't go to school; the only thing I know how to do is this. The only thing that I know is that I know nothing.
For me, it's good to have those dissimilar modes of songwriting sit side-by-side on a record, because they yield such different results.
I don't write poetry for the page because my inclination in that area is satisfied by songwriting. "Ornamental Hermit" was a comparatively effortless song to write, which is rare for me.
I don't think there are any clichés I try to avoid. As soon as I spot a cliché, I go for it. I feel like clichés are the most useful thing in songwriting. They're the tool on which you build all the rest of the song.
I kind of talk about songwriting in the sense that it's really not my job to try to state hard truths. I'm not out to say this is what truth is, this is what's false, this is reality, this is not reality. What I prefer is to try to create a space where truth can move.
I think music moves me more than other people. I can hear a song and it can bring me to tears. It doesn't happen the whole time, but I find songwriting - songs - very, very moving. I always have and I don't think it's fading.
A few years back, even the most commercial pop could have some artistic value. Someone who liked underground music could appreciate Justin Timberlake, too. Now, I just don't get it. Production values are boring; songwriting has gotten worse - the choruses on a lot of popular hip-hop songs are especially bad. The rappers hit their flow in the verses, then when they try to sing, it's a mess. And just like the airbrush tool in Photoshop, Autotune is way overused. It's not a toy!
I think after doing Push and Shove and having it not be successful, I lost a lot of confidence. Songwriting, for me, has always been traumatic, and I've always made all these excuses. But I've realized that you have to just accept that it was a gift: "I don't know where it came from, I don't know how I did it, but I did write all those songs, and I gotta do it again."
I think going away and disappearing for a couple of years - or a few years, or whatever - definitely changed the way I look at songwriting. It made me feel more free, it made me feel more like I could just write what I wanted to write about. I wanted to write more observational songs.
My passion is more in songwriting than ... in being a star.
Naturally, in 10 years, you change as a person and you learn a lot from your mistakes. You also learn a lot about wasting time and the right way to handle things. We're not touring as much. We're not doing eight or nine months of the year, so I've got a bit more time to get a perspective on what I do. I think I've improved my songwriting. I'm every bit as enthusiastic about playing as ever and I'm still learning.
Sometimes I catch myself doing something that I've already done. The more I've done, the more that's likely to happen. Then I just throw it away. I wait until I've got the right way of getting a thing done, which means my songwriting proceeds at a very slow pace. But it's the only way I can really work.
We spent a long time learning the craft of songwriting, Roger Glover and I, for a few years before we joined Deep Purple. You learn about the percussive value of words, and you learn about rhyme and meter. You learn that you can't transform a poem into a song lyric, mostly because the spoken shape of words is different than the sung shape of words. You wouldn't use the vowel 'U' or the vowel sound 'ooo' for a high note for example, its very difficult.
I love the art form of songwriting. I get to carry a lot of vibes to a lot of people. My songs are all about the human condition, and people will be able to find themselves in my songs.
To me, music and songwriting is... part of the intriguing thing is the creative process; you know, the creative thought process. Relying on that... there is some sort of inspiration there and you can't always put your finger on where it comes from. So, it's always been important for me to have my own thing and, even though I'm inspired by and influenced by many different musicians and styles of music, I was very determined early on to have my own thing. So when I sit down to write I don't necessarily have a particular narrative or message in mind. I'm interested in language and in words.
That's really where my heart is, unfortunately - I'm less interested in songwriting and more into just making noise.
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