A Quote by Austin Mahone
I would go on the iTunes chart and see the hottest songs, then I'd cover them. People would go on YouTube and search for those songs. That's how I got my views. I'd post two or three songs a week.
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I would not understand when people will tell me that 'Tum hi ho' has got more than 1 million views on YouTube. I was like, 'How does it make a difference?' Later, I would go to YouTube and see songs of Rihanna, Enrique etc. and would see their hits. Then I came to know the importance. Nowadays, you can judge from these sites how big is a sing.
And I thought about how many people have loved those songs. And how many people got through a lot of bad times because of those songs. And how many people enjoyed good times with those songs. And how much those songs really mean. I think it would be great to have written one of those songs. I bet if I wrote one of them, I would be very proud. I hope the people who wrote those songs are happy. I hope they feel it's enough. I really do because they've made me happy. And I'm only one person.
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.
I think my legacy is important because my songs - perhaps more than those of any other songwriter I know - cover every movement from 1965 on, socially and artistically. If you want songs about ecology, I've got ecology songs; if you want songs about spirituality, I've got spiritual songs.
I've always covered some Dylan songs. I do one or two. And I do them because they're great songs. You know some people cover songs they wish they could have written, not me. I like to cover songs I know I could not have ever written.
I actually had a week where I literally wrote four songs and all of them are on my album. But sometimes you'll go a week where you'll write songs and they never see the light of day. So that process takes a long time.
I used singing as a safety measure. I would pay attention to what songs the popular girls liked, learn those songs from the radio or library cassettes, and then "accidentally" sing or hum these songs in class. This would impress the girls, who would then defend me from the boys.
Before we really started writing our own songs in the James Gang, we'd play covers, and then, in the middle of them, we'd go for a jam for four or five minutes. At some point, we had six or seven of those sections, and we didn't need to cover other people's songs anymore.
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.
Most songs I write are spur-of-the-moment-type things. I have to be spontaneous. If not, songwriting can bore me. There is no pre-design or idea of what I am going to do when I go into the studio. It's all like that for me. I could go in and write two or three songs in an eight-hour session. You can't over-think songs. You just can't.
If I were doing a real rock show, slapping the phone book in time to the music, grooving with the songs, then it would matter to know how I felt about what I was playing. You can't fake it in that situation. But I'm just counting them down as they appear on the chart, 1 through 40. What really matters is what I say between the songs.
I've always loved the songs of the sea. I was first introduced to them back in 1957, at the Old Town School of Folk Music. I used to go to Pete Seeger concerts, and he would do songs like 'Ruben Ranzo' and talk about how the sailors sang songs to do their work - to raise the anchors, pull up the sails and that sort of thing.
I would go to an aunt's house, and she would let me play music, and she had 'The Last Poets' album. At that time, albums didn't have explicit stickers on them, so some of the songs had profanity on them, and I was moved by that. I would listen to those songs, to the flow, and I'd balance it back and forth with the nursery stuff I had.
We call them impact songs, and people buy impact songs. But you just never know what those songs are going to be. One of those songs that really went through the roof for us was 'Big Green Tractor,' which I thought was kind of a fun little ditty song that I never in a million years thought would be as big as it was. But it was.
Well, at the very beginning of the Amboy Dukes, I was doing background but I never sang my own songs. I would sing them for the guys to show them how I wanted the songs to go, but I always had lead vocalists.
Can't nobody do what Fetty Wap does. So when I go to the studio, it may be four to five hours max, probably three days out the week. I used to go to the studio for 10 to 15 hours, and I would do five to 10 songs. Now I go for four to five hours and I do, like, 15 to 20 songs. I'm an ad lib guy. Most people know me for my ad libs.
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