A Quote by James Righton

There was a lack of inspiration in London. There were a lot of dregs of the Libertines' movement, and we didn't want to do that. We wanted big melodies and hooks, organic melodies that could fall apart at any moment.
Avicii's melodies were so simple and cool, and they were actually similar to the melodies I played on piano. I thought if I could teach myself how to produce and get those melodies out of my head and into the computer, maybe I could make some cool music, too.
I love countermelodies, I love hooks and melodies that stick in your head. If I could put 20 melodies in a song and they would all work together, I would.
So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
The melodies were melodies that anybody could sing or hum or whistle. And the words were just about that simple. I think the stories Hank told in his song fit so many people. Nearly everybody in the audience acted as if Hank were singin to them alone.
Jim had melodies as well as words. He didn't know how to play a chord on any instrument, but he had melodies in his head. To remember the lyrics he would think of melodies and then they would stay in his head. He had melodies and lyrics in his head, and he would sing them a cappella, and we would eke out the arrangements.
We love great melodies and great songs that have great hooks and melodies, so we start a little bit more on that side as opposed to other people that start more lyric-based. Sometimes we'll do it the other way.
I just wanted to make melodies. I started trying to do my own thing and let the melodies make the genre themselves.
For me, the most difficult thing is that I am learning melodies on guitar from some songs whose melodies were not meant to be played on guitar. Ever. They were intended mostly for keyboards or melodic percussion.
We start a lot with melodies and instrumentation and trying to figure out good melodies for verses and choruses. We get to lyrics sometimes second, so we'll start humming a melody, finding something, and see where the music takes you as far as lyrics are and what you want to say and go from there.
I don't want to write melodies anymore. I can only write really simple, dumb caveman melodies.
Melodies and ideas are always on my mind and always coming to me. I'm very thankful for that because if I didn't have whatever that is, that craziness, that openness, maybe, I don't think I'd be able to do what I really love to do, which is write great melodies and at least try to write great melodies.
Those who were still able to write beautiful melodies were kitsch composers like Tchaikovsky. Tchaikovsky approaches true art not in his numerous beautiful melodies, but when a melodic line is thwarted.
Melodies are important. I always kind of pride myself on my melodies.
I hear melodies and hooks all day. I've always been that way, since I was a kid.
When I was in the California legislature in the '80s, the organic growers, who were sort of the small hippie farmers in those days, brought it to my attention that there were no regulations on organic labeling. In essence, anybody could just grow a thing any way they wanted and put 'organic' on it.
Every time I get up in the morning, melodies occur to me and I start trying to shape lyrics to melodies.
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