To me, the musical is best when it's a musical comedy. So if you have a very, very funny show, and very good, funny songs, that's what the musical does best.
Someone told me there was a publisher that could find a good home for my songs, but I didn't want to give up my pursuit of a career in the business as an artist.
When I was five my parents bought me a ukulele for Christmas. I quickly learned how to play it with my father's guidance. Thereafter, my father regularly taught me all the good old fashioned songs.
I didn't want to play these people any more songs and have them say that they weren't good enough. So my response was to just not be able to write anymore. I know that's not the healthiest of responses.
I write a lot of songs people don't hear. I really just enjoy the process. I finish 'em all. I don't think there's a whole lot of difference between the bad ones and the good ones.
I started to play the guitar for a couple of years, which was fun. I still bring it out once in a while, could bust out a couple of songs, but I'm not very good at it.
And since discriminating fans can pick and choose exactly what they want to buy, artists and their labels are more conscious than they've ever been of making sure that every song on a new album is as good as can be.
Sometimes if a song hits me really good the first time, I get sick of it. And by the 10th time I've heard it, it's just candy, and I don't like it anymore.
I think any song should sound good just played on a solitary instrument with the vocal. If you have those basics you have all you need. The production then just polishes that idea into the finished thing.
I got about 6037 songs I wrote myself and I'm trying to get them on the market and I just wish people could hear them and stuff but they'll do pretty good.
People like to hear songs that they can dance to. Even if they're sitting, they like being made to want to dance and move. By me being a dancer, I know how I'd dance at certain tempos. I was always good at it.
Everything is Song. Everything is Silence. Since it all turns out to be illusion, perfectly being what it is, having nothing to do with good or bad, you are free to die laughing.
It seems to me that those songs that have been any good, I have nothing much to do with the writing of them. The words have just crawled down my sleeve and come out on the page.
It's great to hear from people who have been touched by these songs. It has been good to know that the Lord is using this in ways I am not even aware of.
So I think it was a good thing It was a little surreal watching Leo scream 'I'm not going to die today!' with our music playing - that was the last thing on my mind when I wrote the song.
I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.
Flower was a good metaphor for growth. The song is obviously about sexual responsibility, so that was the main metaphor. Also, it's like knowing who someone has been and remembering and appreciating that, but really appreciating what they are now eve...
When you write an album and you're writing about relationships, the stuff that I've been through in my relationships, 99 percent of it is really good, but it's that one percent that always inspires you to write a song.
My music is the chicken soup kind. I want people to get a good feeling in their soul from these songs. Roots rock, heartland rock... whatever you want to call it is OK with me.
I wanted to be an actor. That was my real goal. But I wasn't any good at it, so I wrote my own material and acted through that. That's my idea of fun. I get to be all these things in the songs.
I love a good road trip. And I have been known to sing cheesy '80s songs at the top of my lungs on a windy road when no one can hear.
