A Quote by Bazzi

No one wants the picture-perfect song anymore. I'm trying to keep the beautiful qualities of pop - nostalgia, melodies, and the feeling that a beautiful pop song can give you - but make it real. It's not polished.
If you say, 'I listen to pop,' you picture this kind of perfect, colorful, polished song. I want to have that, but when you open it, you see this gritty dark - kind of like dancing your tears away. Disguise the sadness in a pop beat.
Pop is like a puzzle: to write a perfect pop song, you never know, and there's so much that can happen in a second with a song.
You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
I realized probably when I was, like, 20 years old that the hardest thing to do is to write a pop song - not, like, a candy-pop, throwaway pop song.
I think pop music was going through a phase where it was like pop but dance-hall or pop but R&B. But, no, I just want a pop song.
I am saying what comes out, because I'm really not a methodical writer. I'm not a good building writer, where you are like "well, I going to make a song today, and I think it will be a pop song." Some people are great at it and it's beautiful. If I am feeling musical and I pick up the guitar, usually something will eventually come out and I'll see where it goes.
For me, pop melodies are their own thing that have their own emotion, but they don't necessarily belong exclusively in a pop song.
The easiest way I can describe what makes a pop song a pop song is that it's a song you want to hear over and over.
With 'Torches,' I wanted to make a great pop record; I wanted every song to be exciting, not to have too much space, no long pieces of music without vocals. I kind of wanted to write the perfect pop album.
A Hard Day's Night' is the most perfect pop album you'll ever get to hear in your life; it's filled with definitive versions of the two-minute pop song.
The song becomes the meaning itself through the vibratory qualities. When we begin to catch the vibratory qualities...the song begins to sing us...I don't know anymore if I am finding that song or if I am that song.
When I started trying to produce records for other people, one of the first tracks I wrote and produced was sort of a 'Kelly Clarkson circa 2008,' kind of big-brassy, guitar-pop, rock song. I was like, 'I can do this. I can make pop songs.' It was bad.
I've wanted to write good pop music, beautiful pop music - not just throwaways. I've always wanted to make it sound luscious and beautiful and cinematic.
Cyndi Lauper's 'Time After Time' was a perfect song. It was so beautiful and so heartfelt. Her vocals were so amazing. And, for me, that was a song I went to when I was feeling sad and wanted to feel even sadder.
I think pop music is in such an exciting place right now, and I do kind of credit that to Lorde with 'Royals.' I think that song changed everything in the pop scene. All of the sudden, alternative pop music became pop music.
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
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