Working on solo material is something I had always dreamed of doing, and I'm incredibly happy with the results. 'Everything To Me' is a very personal song to me lyrically; it is such an upbeat and optimistic record, perfect for the summer. I can't wa...
I never really focus on writing for other people, to be honest. Every song I've ever written was for me to sing. Maybe if I'm writing for a rapper, but I'd still write it as though it was for myself and then sometimes I'm actually asked to do the par...
I started writing lyrics out of desperation. I was broke and wondering where my next job, my next meal was coming from, although I had had several successful revue songs on Broadway.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's ab...
One of the greatest tools you have as a songwriter is anonymity. If someone knows too much about the songwriter, they don't get to insert their own characters. I don't want the audience thinking about the gay guy who wrote the song.
My mother taught me my first bhajan. My mother, Shobha Nigam, was a very religious woman. From her only I learnt 'Om Jai Jagdish' song and used to do puja along with her.
I won't mistake you for problems with me. I won't let my moods ruin this you'll see. I won't take everything good and move it away. I won't be left dancing along to songs from the past.
To sing a song is quite different than to write a poem. I'm not and never will be a novelist, but to write a novel is not the same thing as writing a play. There is a difference in form, but essentially what you're after is the same thing.
'Man In The Mirror' by Michael Jackson - I used to have my very first dance parties with my kids to this song when they were little, even carried them around to it. It just makes you want to be a better person and be inspired.
Musicians make up for the copies of their songs that get pirated by performing live. I don't think there will be as many people showing up to hear me read as to hear Beyonce sing. We need to make sure piracy is dealt with effectively.
Sting I've seen a few times, and he really inspired me in the sense that he breaks the songs down a lot and will take a different approach. He'll take an acoustic approach to them; he'll rearrange them for the live stage.
We are the cause of a world that's gone wrong. Nature will survive us, we've been wrong after all. We are the cause of a world that's gone wrong. Wouldn't it be great to heal the world with only a song? (Sky is Over)
I think I was perceived in one fashion. A video is based on a song. I think you can get glimpses of people's presence within that. There's some people you enjoy watching more than others.
If I hear a conversation and somebody says something intriguing, my first thought is, 'Is that a song?' I write all year long, and at the end of the year I pull these forty or fifty things out and say which of these things do I want to record.
If you say, 'I listen to pop,' you picture this kind of perfect, colorful, polished song. I want to have that, but when you open it, you see this gritty dark - kind of like dancing your tears away. Disguise the sadness in a pop beat.
The first record we put out on Fueled by Ramon, 'The Papercut Chronicles,' we had no idea what the term 'producer' meant. It was just us writing songs, and we are trying to go back to that - singing in a room and vibing off each other.
So, through all that early professional career I would occasionally do a musical, a pantomime or a play with songs. The next stop would be a Shakespeare, or an Ibsen, or a play by a brand new writer who had never done anything in the theater before.
The 'Downward Spiral' album was a record all about beating everybody up - and then 'Hurt' was like a coda saying maybe I shouldn't have done that. But to make the song sound impenetrable because I thought it was a little too vulnerable, I tried to la...
Several record companies had rejected my song 'Owner of A Lonely Heart' on the grounds it was 'too left field.' I never create to make a hit just to satisfy some record company executive's quarterly profit statement.
I remember auditioning for record labels and having them tell me, 'Well, the country-radio demographic is the thirty-five-year-old female housewife. Give us a song that relates to the thirty-five-year-old female, and we'll talk.'
I take chances. I don't limit myself. I don't think anybody who listens to Boston would have predicted hearing a female rapper on the beginning of the song 'Sail Away.' But that's what fit.
