A Quote by Adam Granduciel
I learned Neil Young songs, Bob Dylan songs and older songs. It wasn't until I moved to Philly that I had aspirations to maybe forming a band.
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Bob Dylan, Neil Young, Merle Haggard, Hank Williams. All of them are different styles, but those are the songs that make the times. They're the songs that last through time.
I love Neil Young. His songs were the first songs I learned to play, and I recommend anyone who is starting guitar to learn Neil Young songs first.
I think everyone mentions Bob Dylan, but he's someone I just admire so much as a songwriter. I think people write songs, and then there's Bob Dylan songs. He's one step ahead of just everybody else.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
My favorite Bob Dylan record is the very first one where he sings one Bob Dylan song and the rest of them are his interpretations of the Dust Bowl-era folk songs, or even going back as far as the mass influx of people coming into the U.S. during the gold rush. His interpretations of those songs are incredible.
I listened to a lot of Bob Dylan songs to see how he works. I've gotten into writing story-songs.
The act of the being in the band has very little in common with writing songs. The songs come out of it, and the band is necessary for the songs to emerge, but the band doesn't exist just so the songs can emerge.
The thing about Bob Dylan's performative essence is that he keeps singing these old songs as well as the new songs, and the old songs become new with new arrangements and new contexts as time goes by.
I don't care if it's a Cole Porter song, or George Gershwin, or Lennon/McCartney, or Elton John, or you know, whoever, Bob Dylan. Great songs are great songs, and they stand the test of time, and they can be interpreted and recorded with many points of view, but yet still retain the essence of what makes them good songs.
I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
Songs came first. I started out in 1965 trying to copy the Beatles, Bob Dylan, and the Stones, like most kids I knew. I'm still trying. Songs are hard to beat.
Most of the songs came from Europe and Africa and now they were coming back to us. Many of [Bob] Dylan's best songs came from Scotland, Ireland or England. It was a sort of cultural exchange.
Along with some of the worst music of Bob Dylan's career ("Self-Portrait," 1970), this period produced some gems - including many songs recorded with The Band in '67 but not released until years later.
I'm also a big Bob Dylan fan. The songs on The Freewheelin' Bob Dylan - which is one of his best early albums - they grow out of some of his difficulties with Suze Rotolo, and "Hard Rain," people say it had to do with the Cuban missile crisis - probably not. He denied it. I believe him, but it certainly had to do with the time.
That's what is so great about being able to record a 13-song album. You can do a very eclectic group of songs. You do have some almost pop songs in there, but you do have your traditional country, story songs. You have your ballads, your happy songs, your sad songs, your love songs, and your feisty songs.
Starting a band is the easy part. Once you've formed the band, you have to tell a story, and that story requires songs. And not just good songs, but great songs. After a while, great songs won't do - they have to be the best. Success doesn't make it any easier. Each time I start a new record, it's a brand-new search.
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