I maintain that the best song is the one that ends up on the album. So whether I've written it or I haven't, I'm very comfortable with both.
You know, songs often have a very coloured past. They might have something about them but it still doesn't work, so someone else adds a bit, and someone else adds a bit so perhaps one day I'll know its full history.
I have to play really loose versions of songs I've made on the computer.
We try to write the best songs ever, and they come out kind of funny...
I just always wrote songs as a side hobby. So it was sort of a natural thing to write comedy songs. But when I started writing songs, I wrote very serious songs. Or things that a 13-14 year-old would think are very serious issues.
In reggae I have a model of artistic excellence and possibility that is challenging and inspiring. The poem remains a demanding thing - an object to be understood and shaped into my own sense of self, the same is true of the play, the novel, the short story. Yet, for some reason, I approach these existing genres with the kind of confidence that the reggae artist approaches any song floating around out there.
It seems to me that the American popular song, growing out of American folk music, is the basis of the American musical theater" it is quite legitimate to use the form of the popular song and gradually fill it out with new musical content.
I've tried over the years all kinds of ways of going about writing and even just thinking about the idea of writing. There was a time when I decided to try to write a song each day. Whether it was good or bad wasn't important.
A lot of getting a song done is booking the studio time. I'm the kind of person who will set time aside to do something and then do everything but that thing.
I'll know when a song's really awesome, for sure, and I get super stoked and I'm so high when I'm hearing it back, but then you sit with the record forever. You're mixing it and you can really just over-think everything. I'll go back and forth all the time.
My songs examine and explore little specific emotions or situations or stories... They're kitchen table songs, like a conversation between me and one other person. It's almost like an alien has been sent to get emotional samples from human beings and put it all together on a record.
I think music should be free. I think all communication should be free. I think people should respect artists, and there should be a certain respect for artists who give their music away for free. If your music winds up on Napster and you approve of it, then the person downloading your music should at least go to your concert, should at least purchase your songs.
Men are allowed to write songs about people and women are allowed to write songs about women
That's my dream job, to be able to mail songs out to people who want to hear them. Paste my face on them and not travel all over the world trying to sell them.
The songs keep on writing themselves, and I really love them. It's as close as I get to a religion.
Lots of these songs I hadn't performed, but I've always wanted to. These are songs that I wanted to get in my wheelhouse. I sang them over and over and over and over again. Of course, I've fallen in love with them all.
As far as what made it on there [The Art of Elegance record], it was tough. It's probably one or two songs too long, but I just couldn't (cut any more). That's what I ended up with. I'm really proud of it.
There might be two or three songs I'm trying out. I've been singing these songs (on the new album) in the studio, but I haven't really done them live. It's intimate to sing them in a studio. Now, I've got to be on a stage and be in front of a lot of people.
One of the things that defines a country song for me is that it's honest. It's not putting on a tuxedo to go eat at the Burger King. It's about a song being emotionally true to itself.
My biggest lesson ... was to try and create narrators that were believable. ...so the listener becomes really invested in the story or the song.
You can find me in the melodies, the chord progressions, the song style and structure. The lyrical places you fine me most are in the lyrics that 'show' more than 'tell.' I like to describe what the listener is seeing and let them make up the middle rather than telling them.
I took guitar lessons and recorded the song in New York. It was kind of a dream. I got to pretend I was a recording artist for a couple days.
Don't worry, be happy! Just like the song. So simple yet so true!
But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.
Just the other day I pulled out this old cassette of Ragged Glory and I popped it into my cassette player and I was digging it. They were just a great rock and roll band, one that presents the song ahead of everything else - there's no grand idea or concept behind it.
Peter Cooper looks at the world with an artist's eye and a human heart and soul. His songs are the work of an original, creative imagination, alive with humor and heartbreak and irony and intelligence, with truth and beauty in the details. Deep stuff. And they get better every time you listen to them.
Johnny Cash's face belongs on Mount Rushmore...I don't write as much as I did back when I was writing songs every day. I've come to know when I've got a good one, although sometimes it takes the world awhile to catch up with me...If you're in it because you love it and you have to do it, that's the right reason. If you're in it because you want to get rich or famous, don't do it.
Bobby McGee' was the song that made the difference for me. Every time I sing it, I still think of Janis.
I think America sees someone like myself, and they see it's not just a voice. It's the musicality of it all. People see that you can play an instrument and think you can immediately write songs.
When you write an album and you're writing about relationships, the stuff that I've been through in my relationships, 99 percent of it is really good, but it's that one percent that always inspires you to write a song.
There is plenty of people I'd love to collaborate with, would love to produce with, would love to write songs with.
Crying is one of the highest devotional songs. One who knows crying, knows spiritual practice. If you can cry with a pure heart, nothing else compares to such a prayer. Crying includes all the principles of Yoga.
When you're given a song, it's my job to record the lyrics, story and emotion, and make everyone who is listening to the song believe that it was my words and experience.
I'm inspired by everything that I encounter, from the environment to people to other songs, movies and artists.
I wanna make stuff that sonically sounds really good. I don't wanna make a song about how people think I'm this when I'm really that. I don't wanna make a song about how I grew up broke.
If you want to say you got to take a woman out to a fancy restaurant, I write songs about hey I'm not taking you to a fancy restaurant, I wanna take you to McDonald's.
I write a lot of songs about my impressions from a man's point of view.
Certain songs I feel different people should be on different tracks, you know it's emotional. I put myself into characters for certain records.
And the great spirit of darkness spread a shroud over me...everything was silent-everything. But upon the heights soughed the everlasting song, the voice of the air, the distant, toneless humming which is never silent.
One good thing about a good book or a good film, or maybe even a song, I'm not a musician but I love to listen to music, is the range that each piece is able to give you. Like 'Bohemian Rhapsody' by Queen, 1975, that song is so epic. It goes in so many different places, it's and opera and it is heavy metal, and it's so crazy as it goes every which way. I kind of like films like that.