A Quote by Dan Fogelberg
Longer is not my best song, it's just a classic love song, and every songwriter always dreams of writing a classic love song.
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A classic song is timeless. You'll never outlive a classic song. I'll never put The Beatles 'In My Life' on one day and say, 'That doesnt move me any more.'
Whenever I think I know something is a classic, or an amazing song, I realise it's still so subjective, because you and your friends could be talking about something, say, '(I Can't Get No) Satisfaction' - an amazing classic song - or someone would be like, "'Hey Jude' is an amazing song!", and I'd be like, "I don't really like it."
'I Want To Hold Your Hand' is a great classic by Paul McCartney and John Lennon, I sure love that song. I did like the classic version, a rock-oriented song, then someone heard me do it with the Grant Green approach - Grant Green and Larry Young did it, with a bossa nova beat on the funky side.
In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.
The roughest part for me when I'm writing a song is staring at a blank page. Where am I going from here? If you're a songwriter, you have to do that every time you start a song.
My favorite songwriting trick is writing something like 'XO.' In my brain, I thought, 'This is probably going to be a love song. How can I change that and find ways to twist that.' As a songwriter, it's your job for the song to take twists and turns that people don't expect.
You need to have spent your time from playing Top 40 pop rock in order to know how to play a song like 'Ritual,' a song like 'Absolution' or 'Idolatrine.' You need to know your classic drumming and your classic guitar.
As a songwriter, you try your best to write a good song, and you like nothing better than hearing a good song. It's easy to admire a great song, and you want to share out of enthusiasm.
Charlie Puth. I love his song writing style - modern but classic production style with catchy hooklines.
Whether it be a reggae song, rock song, a love song, the main thing was just to, whatever I was feeling, to try to capture that emotion.
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.
Writing a love song when I was 19 is very different than writing a love song when I'm 25. You're more sophisticated; you can elaborate and pinpoint special things a little clearer.
I can have a song with Ariana Grande that is going to be the song for all the kids and the teen girls, and then another song that could be for a different group of people who all love the song. I'm with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.
I can have a song with Ariana Grande that is going to be the song for all the kids and the teen girls, and then another song that could be for a different group of people who all love the song. Im with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.
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.
When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.
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