Everything I do is collaborative. It's just my way. I'm really very interested in how the other musicians perceive the song.
The more vulnerable and the more confused the song is, the equal and opposite effect is how I feel after having written it.
I was 9 when I wrote 'Fate Stay with Me.' It was this fictional song about romance gone wrong.
When I write with Maiden, then I write only with the guys in Maiden, we don't do songs from outside people.
A love song must respect the canons of music beauty, entering the fibers of those who are listening. It must make them dream and pleasantly introduce them to the universe of love.
I think music needs to be presented in a way so that kids can grasp songs, dances, simple music that's associated with some particular defining moment in human experience.
In an attempt to amuse my friends and family, I would do impressions of Dean Martin, singing Everybody Loves Somebody. I secretly really enjoyed singing the song.
We've never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she's an icon and she's been one of my main mentors in this business.
We went through this business of me writing out all the parts for these old songs from Gravity and Speechless and we'd been performing that, but we don't do that any more.
Most artists, you know, you spend their entire lives learning how to play music and write songs, and they don't really know how the music business works.
The kids of today have taken over the music business - most of them very young. Simply because they write and jot down a few notes, they have the idea that they can write songs.
Courage: Great Russian word, fit for the songs of our children's children, pure on their tongues, and free.
I enjoy being on stage with other artists. I have a chance to watch and see people responding to the other artists songs. I get to see how people are affected by the music.
Everyone knows almost everything about me. I make it very clear that I'm cool with people knowing all my personal life through my songs.
I would like to do a musical, if I could find a cool one. A song-and-dance role is closer to me personally than other characters I play.
It's cool when your husband starts to sing some old Merle Haggard song and I can pop in with a harmony and it doesn't sound too bad.
I try not to put messages in my songs. My only message is man's communication with his fellow man. I want to narrow the gap of strangeness and alienation.
There's 40 or 50 songs that nobody's heard that I've done in between albums. There's a whole evolution from Midnite Vultures to Sea Change that's never been released.
When we try to write a pop song, we go for standard pop arrangements, even to the point where we will go to the key change at the end, which is really cheesy.
In my songs, I'm not saying something that's never been said before. The have lyrics aren't going to blow people away. It's the emotion and the melody that drive it home.
Right now, I'm Writing song lyrics. Experimenting with a play. Toying with an idea for a documentary. I hope one of these will eventually be launched into the light of day.
