A Quote by Brett Dennen
Songs don't really feel like me unless I somehow shed a little secret or open myself somehow or be vulnerable. When I'm singing these songs, it feels like me, and that comes with the vulnerabilities and the strengths and the moments of triumph or whatever.
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I can write songs, but I'm not gonna really feel good about the song unless it feels like me, and I'm not gonna release a song or put it on an album or play it in concert unless it really feels like me.
For me, challenging myself with this type of endeavor [ultramarathons] brings the best out in me because even at the darkest, deepest moments when I feel like I can't go on, when I feel like there's no chance I could break the record or much less finish the trail, somehow I find that strength inside of me.
I do notice that my songs fit all over the map, even in terms of the colloquialisms in them. The songs come out with their references intact, almost unheeded by me. It's like they existed somehow before they met me with their relationship to the tradition, and then they just end up coming through me at that moment because of my relationship to some certain kind of music that I've listened to in my life. I know that sounds a little bit woooey.
When I write songs, I try to remove myself a little bit. Obviously they're very personal to me, but it feels easier if I feel like I'm writing characters.
When I write songs, I try to remove myself a little bit. Obviously, they're very personal to me, but it feels easier if I feel like I'm writing characters.
Every one of those old songs like "What's My Age Again?" and "All the Small Things" is like a tattoo or a scrapbook or an old photograph. There are just songs that define certain moments in your life. Everyone has a song that got them through a bad breakup or they put on and it made them feel like they wanted to go out and kick the world's ass with their friends on a weekend. Those songs still feel like that to me.
The music brings me confidence and freedom. It's also the thing that can make me feel the most vulnerable. Once I finish writing all the songs for an album, once I actually record them, that whole process is usually easy and enjoyable. The part where I feel the most vulnerable is when it's all finished, I can make no more changes, I've turned it in, and there's no going back. All of a sudden I hear the songs in a different way; that's when I feel vulnerable.
I like making songs up. Whether or not they're great songs or good songs, whatever. It's something I've always done, and I definitely feel like I've gotten better at it.
Then the musical instruments appeared. Dad’s snare drum from the house, Henry’s guitar from his car, Adam’s spare guitar from my room. Everyone was jamming together, singing songs: Dad’s songs, Adam’s songs, old Clash songs, old Wipers songs. Teddy was dancing around, the blond of his hair reflecting the golden flames. I remember watching it all and getting that tickling in my chest and thinking to myself: This is what happiness feels like.
I feel like when I'm on stage, when I'm writing songs, singing songs, I'm in the studio, I'm shooting videos, I kind of get to become this character, and I can make that whatever I want to make that.
I feel like, when I play characters, I create a space in myself that feels like the character and that doesn't go away. Somehow, you carry that with you. You let it go, but a little piece of it remains.
There is no seam between my songs and myself-they really are me. It's not like I'm performing; I'm just singing stuff that I really believe.
All of us somehow felt that the next battleground was going to be culture. We all felt somehow that our culture had been stolen from us-by commercial forces, by advertising agencies, by TV broadcasters. It felt like we were no longer singing our songs and telling stories, and generating our culture from the bottom up, but now we were somehow being spoon-fed this commercial culture top down.
I always work on the songs all together up until the very end. I never mix a song and think, "Okay, now that one's done." I think that's why it feels like songs are really connected, and I like that. They're all worked on kind of like a little family.
Sometimes if I feel the songs are too much, it hurts, but then I open my eyes: people are singing along or crying, and the 7-year-old in me is like, 'Yeahhh.'
You get those couples who are very fearful of bringing children into the mix because they feel like somehow that link between them as a couple is going to somehow dissolve or become less powerful or whatever. And that somehow the child is going to disrupt their happy stage.
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