When I wrote for myself before as an artist, I probably wrote about 15, 20 songs a year. I thought that was a lot. Then, when I first started writing for the people, I wrote, like, 65 songs in a year for two years in a row.
The next song I wrote in Paris years ago in a dream. So I didn't really write it, the universe wrote it. And that's what I believe about music, I believe it belongs to the universe, it comes from there and it's this beautiful energy that we share that transcends normal flash existence and that we inspire each other through.
In the immediate aftermath of the separation I just wrote and wrote and wrote. And wrote and wrote and wrote. Thank God I had that as an outlet.
I could write songs about politics, but I'm conscious of not writing songs that sound the same as the ones I wrote 30 years ago.
The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.
I started off doing indie comics that I wrote and drew myself. I was doing those for ten years before I started to work for DC. The first book that I wrote for DC was for another artist. I did some backups in 'Adventure Comics' years ago starring The Atom. That's the first time that I ever wrote for another artist.
Many years ago, I was actually hired to write the sequel to 'Independence Day.' And I wrote a sequel. And they paid me a boatload of money to go write this thing. And after I wrote it, I read it and I gave them back the money and I said, 'Look, this is an okay movie I just wrote. But it's not worthy of the sequel to 'Independence Day.'
We wrote the songs we wrote - we took from our own experiences, melded it together, and wrote what became 'Appetite For Destruction.'
My tunes and numbers are here. They have filled my years, the years when I refused to die. And in order to do that I wrote, I wrote, I wrote, at noon or 3:00 A.M. So as not to be dead.
It's more in retrospect as I've thought about it over the years and look back at what I wrote, how I wrote things - like there's a song that Ralph Stanley later recorded with me that he had guested on my record what was called "Travelers Lantern" that I wrote as basically, you know, a hymn.
For 30 years I wrote for newspapers and magazines, wrote books on the Dallas Cowboys' dynasties of the '70s and '90s, wrote about Michael Jordan in Chicago and Barry Bonds in the Bay Area, even wrote columns for ESPN.com from 2004 to 2006.
I always wanted to be some kind of writer - I wrote plays and songs and "books" before I realized living and breathing people still wrote poems.
What I'm most pleased about is that there's no particular decline. The songs I wrote 40 years ago are no worse and no better - there's a consistency.
I always thought I wrote good bridges. I was a bit more impressed with the bridges I wrote than maybe the songs I wrote.
The first time I wrote a song, I couldn't really believe - 'Can you just do that? You're just allowed?' I never thought about songs on the radio and who wrote them.
When I wrote 'Savage Season,' it was three years later before I wrote the second Hap and Leonard novel. Whenever I wrote one, I never intended to write the next one.