Music can make you feel things that aren’t yours—sadness, or love, or joy. A good song has a magic to it. It pulls you in and the feelings in the music take over and you become the music, you become the song.
If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes...
I have no reason to sit home and write songs all day without going out and playing for the folks. And I have no reason to go play for the folks unless I'm writing new songs so they can sort of feed off one another. And I just try to do the best I can...
Don't be special." That's what I would say to my younger self if I could pinpoint the moment when I went astray. But there was no one moment. I was always astray
If you write a hit song for Britney Spears, it's worth several million dollars. Just one song! And it might have taken you two hours to do it. It's like mining for gold. It takes a lot of skill and a lot of technique.
I'm writing new songs for a Broadway version of Tarzan, which is very interesting. I think what I learned from the Brother Bear score side of things, I've brought into the new Tarzan songs. Thinking outside just guitar, bass, drums and keyboards.
For the live shows, I'm just getting my song together. I go back to my hotel room and I just listen to my song over and over again, figure out how to make it different and put my little Pia spin on it.
A song doesn't happen as a whole verse; it happens linearly, line by line, almost word by word, phrase by phrase. And if each phrase, each line, has a proper emotional feel and connects to the line before it and the line after it, the song will be do...
I do have a funny perception of mine I'd like to share. Being basically a lifetime poet. I've had many people say "I don't like poetry" But they'll listen to song after song that rhymes on the end in couplets Just a thought...
When I am seriously composing, sometimes a phrase will come into my head, a catch phrase. When I was writing pop songs for a few years, as a career, separate from my folksinging career, I used to write songs for pop singers.
When I'm in the studio, I'm strictly thinking about the beats, the rhymes and the song. The decision I make once the songs are created, and there's a barcode put on the package, and I'm out there in the street selling it, those decisions as a busines...
I'm not tempted to write a song about George W. Bush. I couldn't figure out what sort of song I would write. That's the problem: I don't want to satirise George Bush and his puppeteers, I want to vaporise them.
'Something/Anything?' was kind of a different record, since I'm playing everything myself. A lot of the songs on there have a particular kind of instrumentation that is much like a guitar quartet, and in some ways, it's an exceptional song on that re...
Irony is the recourse of the weak-minded wimp, I think. I hate bands that deliver their songs with knowing smiles on their faces, so that if those songs fall flat they can say 'Ah well, we never really meant it anyway.' It's so dishonest.
At my shows, I want to be totally sharp and focused on every single song, on every single thing that I do, and plus, I have to because I'm, like, caking someone and have to run back and mix the next song... and I have so much fast, quick reflex timin...
That's the beauty of creativity. It comes from the ether. I like to think, sometimes, it's like I haven't written it, it's more like I just reached up and grabbed it from somewhere. That song, 'Song of the Red Rock Mountain,' is one of them. I record...
I'm trying to use people like Meredith Monk and Philip Glass and Terry Riley as the backing tracks for new pop songs. It's really hard trying to use the format and write a pop song on top of avant-garde music, so we'll see. It could be cool, or it co...
When I think about that first DeBarge album, I remember being so green... just pristine. Nothing mattered to me but writing songs. I remember staying locked up in a room with my piano and just singing and writing songs all day long. I remember being ...
Our songs did not transcend being R&B hits. They were R&B hits that white kids were attracted to. And if people bought it, it became rock & roll. That's marketing. Why couldn't it still be R&B? The bass pattern didn't change. The song didn't change. ...
David Lee Roth had the idea that if you covered a successful song, you were half way home. C'mon - Van Halen doing 'Dancing in the Streets'? It was stupid. I started feeling like I would rather bomb playing my own songs than be successful playing som...
In 1952, Muddy cut the song 'Rollin' Stone.' It was a nationwide success, and the song echoes down through rock n' roll history. Bob Dylan cut a tribute by the same name, an English band decided to call themselves the Rolling Stones, and the magazine...
