I have to believe that I know what's best for me. For instance, I choose all my songs. I never record anything I don't want to record. No one tells me what concerts to do.
When you look into the eyes of your people out there that came to see you, that's when it's like, 'Yep, this is what it's all about.' This is why we don't sleep, and this is why we write songs and try to be the best. This moment right here onstage.
I think the best songs are being written by the very under-stated, under-appreciated indie artists. The thing that separates them from mainstream success is they either consciously or unknowingly refuse to deliver on a big chorus.
Somebody described it to me the best as when you go in to write a song with two people that you've never met, you're pretty much going in and taking off your pants in front of strangers, so it's a really weird feeling.
The best compliment I ever had is, one day I was in Nashville, some disc jockey said, Hey, that sounds like a Tom T. Hall song. Up until then there hadn't been any such thing.
You know, when it works, love is pretty amazing. It's not overrated. There's a reason for all those songs.
The oriole entered the capital of dawn. The sword of his song closed the sad bed. Everything forever ended.
this song is for the guy who keeps yelling from the balcony, and it's called 'we hate you, please die.
A future as lonely as the surface of the moon and still just the sight of him feels like a homecoming, like a song I used to know but forgot.
So writing a song is much harder than doing a classical piece for me, because in a classical piece, I can just let the mood dictate what's going to happen.
My sense of proprietorship has been so weak that actually I didn't pay attention and I lost the copyrights on a lot of the songs.
I've never really had anybody close to me die. I think the song is about a feeling that I have that, it still applies. It's a feeling of longing, once again.
The Queen and Electric Light Orchestra harmonies are so distinct and fit in our songs so well sometimes, but we don't know how to do them properly.
Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.
When I was young, I just sat down and started playing Chopsticks at the piano. I got so far and then lost interest. Eventually, I regained it and started writing songs.
It would have been easy for me to bring out a real cheesy pop song, but 'Please Don't Let Me Go' isn't your typical 'X Factor' single, and it's a grower, not a shower.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.
I have gotten more than I asked for. All that I ever wanted was to hear my voice on record and have a song among the Top 20.
I don't own an ABBA album, and I never had the urge to go and buy one. If you're just talking about well crafted pop songs, they were fantastic.
In Genesis we saw ourselves as song-writers. After Peter Gabriel left I was the first to say: 'It's OK - we can just do instrumentals.'
Jewelry should not upstage you. I pick one hot point on my body that I'm going to highlight. Let one area do the singing - you don't want to hear three songs at once.
