A Quote by Bhushan Kumar

'Wafa Na Raas Aayee' is at its core a very pure, simple song. Its beauty lies in its simplicity and who better than Jubin Nautiyal to express the pain and emotions that the song is trying to convey.
I'm one of those people that I make a song... then I write another song and then I'm like, 'But this song is so much better than this song,' and then I kind of ditch that song. It's a long process.
I'm so bad at lyrics. I'm always trying to get better. Sometimes, the song can restrict your lyrics - if you're trying to make a poppy song, you don't want to sing something that sounds like it could be on an At the Drive-In song.
When I'm singing a song, I'm in that song, and I'm thinking about what emotions I should bring to the song. Voicing a character was very similar. It was high energy, and I had to really think about the emotion of what was going on in the scene.
Musically, there's probably nothing better than, after spending weeks or months of grinding on a lyric or a song, when you play a good song from beginning to end for the first time - there's a moment there where all the pain and suffering is worth it.
I'll make a song with Rick Rubin, a song with Beyonce, a song with Lenny Kravitz. I just believe in making good music. I'm not trying to section myself off into just making hard-core rap music.
The difference between a good song and a great song is a good song is one that you know, you'll put on in your car or you'll dance to it. But I think a great song you'll cry to it, or you get chills. I think a great song says how you feel better than you could.
I wanted to deliver the emotions a man feels when he's in love. For example, through song "GG BE," I wanted to the express the feelings of being deceived by a woman (the song also contains the woman's counterargument).
There is a lot of fun to be had when you try and fit as many words as you can within a three-minute song, but there is also a lot of fun in trying to get that message across in three words, or better yet when the music can overpower the words and convey something really pure and perfect that affects our psycho-emotional space.
In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.
We haven't really changed, we've just gotten better at executing what we've always been trying to do. We're not really a band that has undergone huge stylistic decisions to change, we're just trying to follow the song. More and more, we let the song lead us - we don't try and put the song into a structure of our taste or our fashion.
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.
As a songwriter, you try your best to write a good song, and you like nothing better than hearing a good song. It's easy to admire a great song, and you want to share out of enthusiasm.
I started making hip-hop music when I was 11, and pretty much since then I've just been honing that craft, the craft of arranging a song and producing a beat. It's a task-heavy role, but at this point I really enjoy it and it allows me to convey exactly what I'm trying to get across in a song.
?ach song is like starting over. Because somehow, no song's formula works for another. And that's the beauty of it all. Each song's destiny is embedded in its DNA. And our job is to reveal it.
A Song of the good green grass! A song no more of the city streets; A song of farms - a song of the soil of fields. A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork; A song tasting of new wheat, and of fresh-husk'd maize.
Like Ron Lorman's always sayin', "Na-na-na-na-na," you know what I mean? I don't need that in the studio.
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