A Quote by Jason Isbell
A lot of people in Nashville think that the best song is the catchiest or the one that sells the most copies. They're editing songs in a way that make them seem more consumable, I guess. I'm trying to edit them in a way that makes them more honest.
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I make my songs slightly abstract so that people can interpret them their own way. I think that's a lot more special, so you can hear a song and think, 'I feel exactly that way,' even if it wasn't written for that feeling.
Even if you're specific about the character of the song, it's more exciting to place them, juxtapose them in such a way as to make an adventure out of the sequence of the songs.
A lot of writers do think of their characters as living beings. I know that's the way people think. That's why I try to make them real in a certain way, because otherwise people won't read them. It's fine if some readers think of them as real. It's just not the way that I think of them.
Even though you try to put people under control, it is impossible. You cannot do it. The best way to control people is to encourage them to be mischievous. Then they will be in control in a wider sense. To give your sheep or cow a large spacious meadow is the way to control him. So it is with people: first let them do what they want, and watch them. This is the best policy. To ignore them is not good. That is the worst policy. The second worst is trying to control them. The best one is to watch them, just to watch them, without trying to control them.
I think when people make a record with a goal in mind - like taking it to the next level or making them seem more mature - that gets in the way of writing great songs.
I think on the first album, my aim was to write a good song and have a good melody, and I wanted lyrics that would connect with as many people as possible. On the second album, I took a lot more of a personal approach. I wasn't trying to make conventional, structured songs; I was really trying to get a lot of emotion and my own personal journey throughout it. I just focused more on being honest than getting the normal song structure down.
If you are a cabaret artist and you are mostly singing other people's songs, you're asking them to rethink a song, listen to it in a different way. The most impact you can have while asking them to re-listen to a song is if it's a song they know very well.
My songs speak for themselves. The musicians who play on them and the way they sound and where they were recorded and the way they were recorded is the old Nashville way ... they sound as country or more country than a lot of things that are on country radio.
I'm good with songs I haven't written, if I like them. I'm glad I didn't write any of them. I already know how they go, so I have more freedom with them. I understand these songs. I've known them for 40 years, 50 years, maybe longer, and they make a lot of sense. So I'm not coming to them like a stranger.
Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.
"There are one or two elementary rules to be observed in the way of handling patients," he remarked, seating himself on the table and swinging his legs. "The most obvious is that you must never let them see that you want them. It should be pure condescension on your part seeing them at all; and the more difficulties you throw in the way of it, the more they think of it. Break your patients in early, and keep them well to heel."
I think there are shades of political songs; some are more subtle and can be more effective for being subtle, for being more metaphorical. I've written a lot of songs like that, where it's not really clear if it's a war song or a relationship song. The metaphor can be the most powerful thing of all, but sometimes you have to speak more clearly to more people, and I think this is one of those times.
When I edit the poems - and I do edit, which some people don't mean when they use the term "stream of consciousness" - I'm usually editing toward greater accuracy, which sometimes means more fragmentation, because that is the way I think.
I do gravitate towards the sad songs because I find them to be more of a challenge for me from a writing perspective. There are things about those songs that do touch people in a way that a fun song can't.
Thought is constantly creating problems that way and then trying to solve them. But as it tries to solve them it makes it worse because it doesn't notice that it's creating them, and the more it thinks, the more problems it creates.
People always lean toward who's the best guitar player, who's the best singer? I don't see it that way. They're all the best, you know? They've all gotten your attention, you've admired them, you've tried to sing like them. That makes them the best, each and every one of 'em.
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