A Quote by Chris Thile

For one, the whole concept of 'Live From Here' - writing a song every week - was like composition bootcamp. — © Chris Thile
For one, the whole concept of 'Live From Here' - writing a song every week - was like composition bootcamp.
It's better to find a composition through an instrument and to play it and record it because you have something. It's a composition, and the song is good. It lives as a song. The worst is when you have a song and nothing is working well when you produce it. It's not like what you expect in your imagination. It's the worst because it requires a lot of work.
I've literally been in sessions with producers, writing for other people, and they're like, 'We need a song for this artist, and we need it to sound like this song.' They're literally saying, 'Rip off this song that was no. 1 last week,' and that's just so uninspiring.
When you start writing songs on your own, there's no Bible, there's no one around you, so you're just writing, and you're left with, like, the dead space in your head to know if it's a good song or an interesting concept.
Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.
I love writing every song I can like a little mini movie. I like to have a character, or some characters, and really paint a picture with the song.
Live every week like it's shark week.
The whole life of a song doesn't end with the way that it sounds on the record. How does this song grow? What works live? What do people like to sing along to?
There were numerous times where, at the end of a week of working on a song, there was a part of it that we still weren't feeling, so we'd scrap the whole thing and start from scratch the next week.
Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.
The whole concept of treating people with dignity and respect is a concept that isn't a business concept, it's a life concept. It's who you are at the end of the day.
'Nothin' on You' by B.o.B was the first song where I heard myself on the radio. I'd been trying my whole career to write a song like that, which incorporates live instruments with hip-hop and singing.
It's just a challenge doing live television every week, you know, it's a challenge to come up with new material every week and stuff like that and try to keep it current, you know what I mean, like it's just, you know, it's a kind of a stressful environment. Like I didn't really realize that we had a show this Thursday until yesterday.
When I'm writing songs, I write visually. When I'm writing the words down and I listen to the melody and the lyrics, I start seeing the video form. And if I can get through a song and from the beginning to the end have the whole video in my mind, I think that's a great song.
It's just a challenge doing live television every week; you know, it's a challenge to come up with new material every week and stuff like that and try to keep it current, you know what I mean? Like, it's just, you know, it's a kind of a stressful environment.
You have to love writing a song and architecture. You have to give it a form. It is my job to create a sonic landscape. I like to create ambiance and atmosphere. The writing is the intimate part of it. It is a sketch. The production is the whole painting.
I like listening to the whole song. Like my father says, "If you can't pick the whole song, then why are you playing it?"
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