A Quote by Cole Swindell
Every single day I wrote a song, I was hoping somebody like Luke Bryan, Jason Aldean or whoever would record the song. It's tough to do because there are so many great songwriters in Nashville, and I was lucky enough to get some songs recorded before I got my record deal.
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I always try to write a song, I never just want to write a record. Originally I was not writing songs for myself. ....And I can say this, most of the people who have recorded my songs are songwriters themselves. ... Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential. When you write a song, a song has longevity. ... So I wanted to sing inspirational music, and that's exactly how I approached it-only the words have been changed to declare my relationship with God. Songwriting is my gift from God.
I wrote 'Lights' a long, long time ago. And I expected it to be on the album, because it was - I wrote it with 'Biff' Stannard. And he wrote every single Spice Girls song and every single pop song of the 90s, basically. So I thought, you know, I was really lucky to work with him, but I didn't think it would be a big song for some reason.
Here's the way the licensing works ... If you write a song, nobody can record your song before you do without your permission. But, once the song is recorded, they can get what's called a 'compulsory license', and they can record the tune, but they have to pay you royalties.
I like the old days when, if I wrote a song and I recorded it, it didn't mean somebody else couldn't record it.
Here's some free advice; like the folkies of yore, you need to be not just a writer of songs, you need to be a lover of songs, a listener of songs and a collector of songs. If you hear a song in a club that knocks you out or you hear an old recording of a great song you never knew existed, it does not diminish you to record it; it actually exalts you because you have brought a great song from obscurity to the ear of the public.
You're not going to hit it every single time, and that's why, when I record an album, I do probably close to 50 songs. Each song I record has to get better. If it's not better than the last song that I made, it'll usually linger for a couple of months, and then it'll be put on the backburner, and then there'll be another song that I do, and then it often doesn't make it on the album.
Before we started writing we did feel pressure because of the success of the first record. One of the first songs that we wrote was "Out Of My Heart" which is the first single. As soon as we wrote that, we knew we just set the standard and every other song had to be as good if not better.
The tune 'All My Friends,' we recorded because our friend who wrote the song, Scott Boyer, passed way, and Gregg Allman had passed and he had recorded the song on his first solo record.
When I go into a room to write, it's like I'm not trying to say, 'I need to write a song that sounds like Eric Church or Jason Aldean.' I just try to get the best song that's in the room that day. Whatever style or sound that may be, I'm not afraid to attack it at that angle.
"I Wish It Could Be Christmas Every Day," which I actually recorded on "Quality Street" because I don't think anyone has ever covered it before. You hear it every single Christmas, and it is a great record. That's by Wizzard. It is a really great record, but I don't think anyone's ever covered it before, so I had to go it doing it differently. It's quite different from how the original goes.
I'm no longer beholden to the sacredness of the recorded song as some kind of ultimate standard by which every performance of the song is measured. I like to diversify, that there are multiple versions of every song. And the songs incorporate a lot of improvisation, and an element of chance, and I think that's exciting. There's no one true formulation of a song, they have various manifestations depending on the space we're in. I like that.
I learned to play guitar on my lying back while I was bed-ridden. I only thought to record the songs because sometimes I would I couldn't remember what I had just done. Eventually I started singing, because I thought if I sang it that would help to remember even more. But I wasn't trying to sing. And then one day-this is really weird -I just wrote a song. It came out at a rapid rate and I recorded it and I listened back to it and was like "Wow, it's a tune."
When I was growing up, you would put on a KISS record or a UFO or Aerosmith record and listen to it from the first song through the last song. It's been so long since a band has put out a record like that.
We have this song called 'Radio,' and I wrote that song when we needed one more song for a record. So I went back into the other room and wrote it in 20 minutes.
Every record has been very different, so I can't really compare them. The first record was good. I originally recorded about half the songs on that one in 2003 or something, and then I went back a few years later and re-recorded them and added some other songs.
I never want to record something that I'm not proud of just because I think it might be a big hit. There's no positive about that because if you record a song you hate and it's a big hit, then you're singing a song every night that you hate. And if you record a song that you hate and it isn't a hit, then you sold out for no reason.
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