What's the coolest thing in the world is when you have fans that know the lyrics to your songs. That's amazing! Such a great feeling! When I go out there and am playing "Grinnin' In Your Face" and people are singing the lyrics to it, that's amazing to me. I'm actually taking a song where people wouldn't know it, and I'm bringing it back. It's a really cool feeling.
I felt certain uneasiness, a strange sensation, which had comic to a head. Every evening I went to Yahya to report that Mujib [Rahiman] and I weren't making any progress, and Yahya [Khan] showed no interest. He looked away or complained about the television or grumbled because he couldn't listen to his favorite songs - his records hadn't arrived from Rawalpindi.
I love singing Christmas carols. I know every harmony to every music-hall Christmas song.
Nothing is more powerful than allowing yourself to truly be affected by things. Whether it's a song, a stranger, a mountain, a tea kettle, an article, a sentence, a footstep -feel it all. Look around you. All of this is for you. Take it and have gratitude. Give it and feel love.
I always have loved music, ever since I was really little. I just loved to sing. I can't really explain it, except maybe - and this is going to sound really stupid - when I would listen to a song it would make me more excited than anything else could.
I tend to like simple music. And clever, succinct lyrics. Songs that don't try to be more than they need to to be effective, to stir up something emotionally within you.
That's one of the most exciting things for me about listening to records: It's a moment in time, and the less it's messed with the more powerful it is. I wanted at least one song on the record to be just completely about the moment.
I'm always interested in hearing how other people read and react to my songs. I hadn't thought of it in just that way.
One of the things I love about doing things that are creative is that I feel like it's my right as an artist not to be affected by the reactions of those people that are going to hear my songs.
I also feel like it's the right of the people hearing them to have their own interpretations of what these songs mean. Sometimes people will see things that I don't see.
It's nice that there are movies and songs about romance - it's what motivates us as human beings. I'm all for being brainwashed by rom-coms.
I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.
It's very much a piece of myself when I write a song. I don't mean to say it's very personal, like the lyrics mean something personal to me. When I write a song, that's my taste in music - my taste in chord progressions and melodies.
I love to play music, and this is fun, and let's record this stuff in a way that we both like. That was exciting enough, so we just recorded it. There was no business in it until the very last minute, really. It was really as much of an extension of me writing the songs in my bedroom as it could possibly be.
Singing connected with movements and action is a much more ancient, and, at the same time, more complex phenomenon than is a simple song.
I try to create songs that are really massive and intense, but at the same time remaining honest and raw.
The greatest benefit of being a solo performer is that it is seriously frightening, but at the same time very empowering. It's just you and the audience. All the weight is on you to deliver the songs.
A lot of times I have the song inside of me and I have to fight to get it out. I'm a very visual person, so I can see the song but I can't hear it. But I think that if your music becomes a war for it to happen, in the end there's a certain kind of aggression in the music. And I think that's a lot more interesting.
I feel like humans are a disease. It's a hard thing to communicate in a pop song. I mean, who wants to hear that?
The only reason I would write a break-up song is because my own problem of allowing myself to relate to people.
Some of my songs I don't do on tour because they don't work well live.
It's hard to say a favorite song of my father's. I listen to all his stuff; a lot of the old stuff before the '70s.
If I'm doing a concert, and I'm having a problem with the audience... I just play a Bob Marley song, and I'm good for the rest of the night.
My father's songs don't intimidate me; my father's songs are my songs. My songs are his songs. There's no intimidation.
In my songs, the sex is all subliminal. It's subliminal, spiritual.
When the mind is possessed of reality, it feels tranquil and joyous even without music or song, and it produces a pure fragrance even without incense or tea.
I always have my own music on my iPod, especially songs that I am going to record. Besides that, I have lots of others ranging from Chris Brown to Beyonce', Michael Jackson, Rascal Flatts and Adele.
It's really surreal when I play shows, I'll have three or four people who are in the front row who are singing every word to my songs. The first time I experienced that I was like,"Are they mocking me? Is this a joke?" But it's not a joke. They actually identify with my music and that is something that I'm getting used to.
I've always been a singer-songwriter - it started off with me and the guitar, just writing songs, they were very simple. When I got in the studio it took me probably three years to get where I am now - being open to experimenting with new songs, being comfortable with where the songs were headed. I'm happy with where they are because they feel very genuine and authentically who I am.
I wish I could write a beautiful book to break those hearts that are soon to cease to exist: a book of faith and small neat worlds and of people who live by the philosophies of popular songs.
We walked at night towards a cafe blooming with Japanese lanterns and I followed your white shoes gleaming like radium in the damp darkness. Rising off the water, lights flickered an invitation far enough away to be interpreted as we liked; to shimmer glamourously behind the silhouette of retrospective good times when we still believed in summer hotels and the philosophies of popular songs.
I really like working with unique and unknown artists, as they usually bring something fresh to a song.
I never feel like I need to make a song that sells 5 million copies; that's not the point of why I make music. It's great if that happens, like it did with 'Clarity,' but my goal is to always make a better track than the last one.
What I don't like to hear in music is something has not been thought through: that a sound is just there randomly. I want to make sure that every single little noise that's in my song is there because it's supposed to be there.
I usually write my music on a piano, and I really enjoy performing that way, because that actually shows how the music was in my mind before it actually became an electronic song.
A DJ can't just play one song. It's about playing a set, or how you connect songs in those two hours, and where you place them.
I can't just sit down and make a song in a day. It's only possible if you focus on the music and not the sound.
Words are the instruments you play to the song ofï»¿ your ideas, you're just playing covers.
The song of the umrhubhe creates a world of dreams.
There are a million things out there every single day that trigger me - songs, smells, even the season that we're in, fall. Something about the air.