After playing so many songs in churches for eight or nine years, I've learned what songs people react to. Then I just had fun with the arrangements. That's how this album came together.
I would play my Dungeons and Dragons songs and watch people's eyes glaze over, and then I would start joking around between songs, and all of a sudden people were lighting up and engaging.
Even if it was a difficult operation to copy a song, it only takes one person to do it. After that the spread of the song via the Internet or other means of propagation is only limited by the honesty of the users.
It's an interesting line that I walk. The AIDS crisis has done a lot for my songs and made them proliferate, and my songs have contributed a lot to that cause as well.
Certain songs like 'Enjoy the Silence' - to me, it always fits anywhere. There's something about that song that's really timeless, and I never get bored or feel like I have to muster something up.
You know, when you're making a record, you come up with 15, 20 songs. Then they start to fall by the wayside as your interest wanes. It's kind of like a process of elimination to determine which songs wind up on the record.
Every song you write you think is the last one you're going to manage. You put everything you've got into the song, and you've twisted it and pulled at it and dug in and found a way to complete it. To get another one is the trick.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
I'm so hard on myself that when I'm in the studio, I'll write 10 songs and only use one. So those nine songs that are left over, I always think, 'Where could these go? Who could they be for?'
The Men at Work thing is always there, it's always going to be there. It's not something I consciously think that much about anymore. The thing that stays with you is the songs, which is a good thing for me, because the songs are the things that stan...
Some people have said that I can 'hear' a hit song, meaning that I can tell the first time a song is played for me if it has potential. I have been able to hear some of the hits that way, but I can also 'feel' one.
There are certain songs that are sacred. People want to hear them just as they are in their head; they don't want you messing around with them. And then there are some other songs, if they've been around a long time in our set list, that I think we c...
With some artists, I've noticed that after their songs have been licensed, on their next album you can totally hear they're trying to write a song for 'Grey's Anatomy' and it doesn't work. It's just one of those things that has to feel genuine to las...
When I get all focused on songwriting, I get into all the marketing and promotion that we do to make it happen. Then the right song comes along and blows it all out of the water. The right song will do it for you every time.
Technically, I've been retired for some time now. All I ever do is occasionally write songs for friends, such as one, for a friend who had just turned 80. I wrote a song for him called, The First 80 Years are The Hardest.
Holly: I love songs about extraterrestrial life, don't you? Mickey: Not when they're sung by extraterrestrials.
I do go back and listen to my songs. I'm biting my fingernails the whole way through, but I do listen. I have a lot of songs I've wanted to re-record just because of how advanced technology is and the different instrument sounds that I'm more experie...
With any cover, I like to choose songs that affected me strongly already. So it's tough sometimes to take a song that you love so much and put your own spin on it because you get such a strong feeling from the original.
I think every revolutionary act is an act of love. Every song that I've written, it is because of my desire to use music as a way to empower and re-humanize people who are living in a dehumanizing setting. The song is in order to better the human con...
I don't listen to a lot of new stuff. I just like the old stuff. It's all quite dramatic and atmospheric. You'd have an entire story in song. I never listen to, like, white music - I couldn't sing you a Zeppelin or Floyd song.
I don't know if music has ever achieved anything past appealing to the people that it appeals to. If a song could stop a war, then Bob Marley and Bob Dylan songs would have stopped one or two.
