I like rap. I like anything with soul. I like anything you can feel, anything that makes you think that the artist had to make that song, or they were going to go crazy.
I learned early in my writing career that if I try to tailor a song for someone else, I'm usually off base. They're usually looking for something from you with your character.
We've been really lucky. We've gotten a lot of airplay over the years. I guess people keep requesting our songs on the radio, because Lord knows I don't do a whole lot to promote myself.
It’s just that I coulda swore you had sung me a love song back there and that you meant it but I guess sometimes people just chew with their mouth open
I feel like there's no subject that can't be sung about. I wrote a song dedicated to people with inflammatory bowel disease, and then I wrote about shoes. And mangoes. Every rock should be turned.
As a horn player, the greatest compliment one can get is when a person comes to you and says, 'I heard this saxophone on the radio the other day and I knew it was you. I don't know the song, but I know it was you on sax.'
I remember driving the tractor on our farm, and Tim McGraw would be on the radio. I'd find myself walking out of class, singing his songs. And then Tim ended up playing my father in 'Friday Night Lights.' It was surreal.
There were a lot of songs during my MCA years that I thought should have been singles but were not. You can't worry about what wasn't - I was very lucky to have as many hits as I had.
There was no such thing as production at Starday. We'd go in with the band, we'd go over the song, I'd look over and tell the steel player to take a break or kick it off, and I'd get the fiddle to play a turnaround in the middle.
Then, once I have lyrics, being able to shape them around a song is nothing new for me, I've been doing that for 25 years. The soul searching part of it, the spontaneous part of it, that was, and remains, a really terrific process.
I've never done anything so political before. I've spent years shouting my mouth off about serious issues over dinner tables but never really had the confidence to express my views in a song.
Now, the DJ becomes a star in itself because of the way he programs the songs with lows and then highs and then slowing it down. The big DJs, like Tiesto and Deadmau5 and all those guys, they are very, very creative.
and the creation, in the world and above the world, that once was at variance with itself, is knit together in friendship: and we ... are made to join in the angels' song, offering the worship of their praise.
Collaboration is much like a birth. The song that springs forth resembles each one of us to a degree, but it's the kind of thing that would never be born from just one of us sitting down with a guitar.
I'm a big fan of simplicity, especially with songs and I try not to make them complicated. I just make them simple and let people absorb that message themselves. That's my theory.
It feels like the more I'm out there in the public eye, the more criticism I get. You need to have confidence - that's what it takes to walk out there and sing a song in front of a huge group of people.
My voice hasn't changed really very much. I still do all my songs when I perform live and still do them in the original keys. I've been blessed with that ability to retain that.
I remember when I wrote songs when I was about 16, they all sounded the same because I didn't know anything. And all the subject matter was all the same because I hadn't actually done much.
At intervals between the songs, more especially after the trances have begun, the dancers unclasp hands and sit down to smoke or talk for a few minutes.
A day-time song like 'Word Starts Attack,' I want to make your heart blow up and make you want to punch the air with your fist. It can't be ponderous.
The new album is a childhood dream come true. Got to sing with Ronnie Spector, got to cover a bunch of songs that were influential in drawing a line between the punk form and original rock and roll.
