I knew that collaborating on songwriting would be difficult for a lot of people, because I was known very much, for my independence and the fact that I wrote these quirky songs that were not typical structure, not typical sound - you know, really ori...
If you consider the definition of authenticity, it's saying something and actually doing it. I write my own songs. I made my own videos. I pick my producers. Nothing goes out without my permission. It's all authentic.
The nice thing about doing a pop opera - in the way that doing, say, 'Miss Saigon' or 'Les Miz' would be - is that, because the convention is set from the beginning that this is an opera and everything is sung, there is never that feeling of 'Why is ...
I wouldn't have made it past the first round of American Idol auditions. It was months before our first song was recorded. The guys were like, 'Just seeng!' And I was like, 'I don't know how to seeng! Can't I just play the triangle?'
When I was 5, I started taking singing lessons, and then, after 'School of Rock,' I started taking guitar lessons. I would always write songs and play them for my friends, and I would play my guitar on the set a lot.
I feel like I want to write some songs and I don't know how to go about doing it. Usually it's the lyrics that are a problem, and I think I am not really cut out to be a lyricist.
When you choose your life, ignore people, when you make it in life, remember some friends, when you sing a song, praise your source, when predicaments arises, stand your ground.
People ask me how I make music. I tell them I just step into it. It's like stepping into a river and joining the flow. Every moment in the river has its song.
Writing songs with Brian and performing them with Al Jardine, Dennis Wilson, Carl Wilson, David Marks, Bruce Johnston and many other brilliant musicians over the years is my legacy, and something of which I am very proud and protective.
Wer nicht liebt Wein, Weib, und Gesang, Der bleibt ein Narr sein Lebenlang (He who loves not Wine, Women and Song Remains a fool his whole life long)
When I'm not in the booth, I'm one of the most laid-back guys. But growing up, I liked DMX, Jay-Z, 50 Cent, and T.I. - dudes that went all out on the track. My first songs were energetic because I liked their energy.
Sometimes I feel like I'm taking on a role when I'm writing a song, and it doesn't always have to be true. I'm not sitting in my room crying with my guitar, writing a slow solo about a depressing breakup; that's not me.
I took her to bed with silk and song 'Lay still, my love, I won’t be long, I must prepare my body for passion.' 'O, your body you give, but all else you ration...
And those, who come together in the night and are twined in quivering pleasure, are performing a serious work and are heaping up sweetness, depth and force for the song of some coming poet, who will arise to express inexpressible ecstasies
As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.
Every single tune you know from the 1940s until the 1970s was written, arranged, and demoed in the Brill Building. OK, maybe not every song, but writers from Benny Goodman to Lieber & Stoller to Neil Diamond all kept offices there.
While my six-song EP is unlikely to set any sales records, it's one of my biggest personal achievements - on par with starting my own company. On par with selling my own company.
It's not rubbish to say that I was a bit peeved about not getting credit for a couple of songs, but that wasn't the whole reason. I guess I just felt like I had enough. I decided to leave and start a group with Jack Bruce.
So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
Bob Altman got nothing from the TV series 'M*A*S*H,' and the royalties for the theme song went to his oldest son, Michael, who wrote it as a 15-year-old poet!
My muse is my wife. It's not some vague thing that flutters around the astrosphere or wherever it is. Sometimes as a songwriter you need something to hang a song on, to give it some kind of presence and form. For me, Susie is that.
