A Quote by Jamila Woods

I'm interested in figuring out what freedom songs would sound like in 2016. — © Jamila Woods
I'm interested in figuring out what freedom songs would sound like in 2016.
From the end of 2015 to the start of 2016, I was always at the studio with Mustard, just figuring out a sound.
Along with a lot of other things, becoming a Bob Dylan fan made me a writer. I was never interested in figuring out what the songs meant. I was interested in figuring out my response to them, and other people's responses. I wanted to get closer to the music than I could by listening to it - I wanted to get inside of it, behind it, and writing about it through it, inside of it, behind it, was my way of doing that.
As a viewer, I'm personally less interested in the damaged, white, middle-class male figuring out his dreams and more interested in maybe an underdog figuring out how they're going to survive in a world that doesn't necessarily invite them in.
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
I have a few songs that I'm figuring out and writing. I'm still figuring out the whole concept and how it's gonna connect to Cry Baby, but I have some ideas, yes.
If I write a character, instead of looking from the outside, like maybe a journalist would, trying to describe them physically and figuring out what kind of things they might be interested in or have in their house, I don't really do it that way. I try to feel what it would be like to be inside this person, to be them.
I like songs that sound like classics. There are songs that might be cooler or have better production, but I like songs that sound like they're timeless.
I was always interested in figuring things out. I'd do experiments, like combining things I found around the house to see what would happen if I put them together.
The other songs [of Billie Holiday] - "Body and Soul" is like the standard - I also wanted some songs that I knew I would sound good on, as a producer. It's been the same nine songs since I debuted it back in 2012.
I have these songs that I've been playing for so many years. They're so intimate and close to me. And these are songs that probably a major label would not be interested in - some of them, anyway - interested in putting on a record.
Figuring things out for yourself is the only freedom anyone really has. Use that freedom.
I have songs that sound like this and songs that sound like that. I think it's just my vocal that keeps it all together.
I think when we were starting out, it was more about imitating our songwriting heroes. We would try to write songs like Neil Finn, or we would try to write songs like Ray Davies, or we would try to write songs like Glenn Tilbrook.
I bought a book with guitar tabs and forced myself to learn. I would go to school and then come home and sit in my room for hours figuring out the songs.
The beautiful thing about having grown up in Brooklyn is, because of the rich cultural and racial diversity there, no one seemed to give too much thought to where I fit on the racial spectrum. But there were times when I would run up against someone who was interested in figuring out what race was. That would come as a surprise, and in some cases, like a slap in the face.
I have country songs, I have rock songs, I have songs that don't even sound like songs.
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