A Quote by Brett Young

In Nashville, everybody just wants to write the best songs. So it's a very inviting songwriting community. — © Brett Young
In Nashville, everybody just wants to write the best songs. So it's a very inviting songwriting community.
Everybody wants to write a hit song, but in Nashville people want to write the best song, which was my original intention as a singer/songwriter.
I came to Nashville in the early '90s, and I thought, 'OK, enough is enough. I write songs; I just don't have the backbone to show it to anybody. I want to go to Nashville and learn how to properly write a song.'
I will write a verse or a story and bring it into a songwriting session, because that's what's big in Nashville - the collaborative part of songwriting.
Songwriting is a craft. Writing good songs on a a consistent basis doesn not happen spontaneously. In fact, most of our best songwriters learned to write good songs by writing a lot of not so good ones. Education matters in songwriting, just as it matters for physicists, chemists, doctors, lawyers and MBAs. Education lays the foundataion on which to build experience.
I didn't even know the industry of songwriting existed. I thought everybody sang songs and they were only singing the songs that they wrote. So after I found out about songwriting in college, I was like, "Okay, I want to do that."
I didn't really know you could make a living in songwriting. I was just very fortunate to have the opportunity to play a few songs for a guy there named Jimmy Ritchey. Through that meeting, I met another couple guys and ended up getting a publishing deal in Nashville.
I don't really premeditate what I write my songs about; you know, they just kind of happen, and I can't start writing songs to please a certain group of people or propagate a certain message all the time. That's just not how my songwriting works - it just sort of comes out, and the songs are what they are.
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.
Different people have different ways of doing things. For me, becoming a songwriter first and falling in love with the Nashville songwriting community and the process of songs and getting better and putting more in what I wanted to say, was absolutely vital in me even wanting to be an artist.
Everybody wants to write a hit song, but in Nashville people want to write the best song, which was my original intention as a singer/songwriter. ... I left because I could no longer make records that sounded less and less like me. I tried to please people instead of believing in my own strength, until the only thing I could do was walk away.
Everybody struggles with get tiring as a musician having to play the same songs over and over again on one level or another. That is why you're cast to write the best songs you can. It keeps it going for you. My old man used to tell me be careful what you write you might have to play it for the rest of your life. That is always a challenge and the best way to remedy it is to write.
I live on eight acres out in the country in Nashville, and it gets creepy and foggy. It's the best atmosphere to write songs.
I always try to write a song, I never just want to write a record. Originally I was not writing songs for myself. Songwriting is my gift from God.
My best songs were written very quickly. Just about as much time as it takes to write it down is about as long as it takes to write it...In writing songs I've learned as much from Cezanne as I have from Woody Guthrie...It's not me, it's the songs. I'm just the postman, I deliver the songs...I consider myself a poet first and a musician second. I live like a poet and I'll die like a poet.
We're not just going to take some songs from a focus group in Nashville where people are sitting around in a circle having appointments trying to write catchy songs so they can sell them to a band like us.
I think when we were starting out, it was more about imitating our songwriting heroes. We would try to write songs like Neil Finn, or we would try to write songs like Ray Davies, or we would try to write songs like Glenn Tilbrook.
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