A Quote by Brian Eno
What matters in modern music is not the part you can write down, the words and the tune, but the rest - the texture, the atmosphere, the references and associations.
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I wanted to write songs which I think is a different thing. I wanted to write music that is informed by folk music. The chord progressions are obvious references.
One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.
I've always loved gospel music. Being raised in Mississippi, it was kind of part of the atmosphere down there.
Writing has nothing to do with publishing. Nothing. People get totally confused about that. You write because you have to - you write because you can't not write. The rest is show-business. I can't state that too strongly. Just write - worry about the rest of it later, if you worry at all. What matters is what happens to you while you're writing the story, the poem, the play. The rest is show-business.
Write words you’re willing to burn at the stake for. Write words you’d believe in even if the rest of the world didn’t.
I like to be alone and listen to music. Every match I play, I have a tune in my head over and over. It might only be a few words or a small piece of the tune, but it can drive you mad.
When it comes down to intuition, when it comes down to gut feelings about whether a song is right, you can get distracted with words, rationalization. There's nothing wrong with music school, but part of music school has to be the ability to forget all of it, too.
I write because I like to write. I find joy in the texture and tone and rhythm of words. It is a satisfaction like that which follows good and shared love.
I can't make hard street music for the rest of my life. Your references change.
I often use dropped D or C - I even go all the way down to A. What can be really cool is drop a guitar down there and have the rest of the band continue in standard tuning. It gives it a lot of power and texture.
Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.
Make lists. Write down the things that give you power. Write down the things that take your power away also. Make lists of people close to you. Are you associations raising you to a higher level of attention?
We all might ask ourselves why we tune in to these more trivial matters and tune out when it comes to Darfur
We all might ask ourselves why we tune in to these more trivial matters and tune out when it comes to Darfur.
I just start singing some words with a tune. I don't ever write a song thinking, Now I'll write a song about... .
I'm so lucky that I get to write my own music and write my own stories, so every single time I look down in the audience and I see somebody singing the words back to me, it makes it all worth it.
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