I wouldn't be able to write a song like 'Someone Like You' and get someone else to sing it because it's so personal. It's like giving away your heart.
If I were a writer and not a singer in 10 years, I don't know how I'd feel about writing really personal songs and getting someone else to sing them.
I want to make an album my grandma and my fans are going to like. I want to make my grandma understand a drop and make club fans understand a song.
When the student has her voice under complete control, it is safe to take up the lyric repertoire of Mendelssohn, Old English Songs, etc. How simple and charming they are!
Before, I was terrified on stage. I only play guitar during the acoustic songs. After a while, you can elicit certain responses from the crowd, like Elvis.
People were talking about songs of the common man in order to make the common man. With Woody Guthrie and Lead Belly, they were so common it was just uncommon.
When it happens that I am more moved by the song than the thing which is sung, I confess that I sin in a manner deserving punishment
I think I've always approached making albums pretty much the same way. I'm just looking for a mixture of songs and topics that aren't the same thing over and over.
I've been saying for almost 20 years that I need to do a jazz project and it ought to be either big band or I should do some jazz songs with a trio or quartet.
A Minor is one of my all-time favorite keys to play in. It's a very moody key, and also 'A' is the first letter of my name. It just represents the songs through my eyes.
We were interested in this notion of compression- a lot of the songs were really short so that you'd absorb them in memory rather than when you're actually hearing them.
When people come to a concert, they wanna hear the hits, the big radio songs, and they wanna hear them how they're used to hearing them. I like playing them how they were recorded.
The New Deal exists principally on an emotional plane for Obama. To him, the New Deal is something you play like a song, to make you or your constituents feel better.
Some of those songs, you really have to bite them. You challenge yourself, you challenge the audience, you do something different. People weren't expecting it.
To passively get up and play a bunch of old songs wouldn't have really motivated us. So we are bringing the new material into the set and it goes down really well.
My upbringing has always been quite equal in terms of cultural influences. But it's unlikely that anything could prepare you for a job that involves belting out Proclaimers songs on camera, in Edinburgh and in public.
There is a need to find and sing our own song, to stretch our limbs and shake them in a dance so wild that nothing can roost there, that stirs the yearning for solitary voyage.
I was doing theater in my high school, and I started writing sort of silly songs on the piano backstage in summer theater. I eventually put them online and started getting this little following.
There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.
We play a hip-hop song and suddenly 25 people on the left jump up and put their hands in the air; then you play Lost Cause and they're like, I don't know about this one.
I like to write sad songs. They're much easier to write and you get a lot more emotion into them. But people don't want to hear them as much. And radio definitely doesn't; they want that positive, uptempo thing.
