A Quote by Jim James
I think maybe the vehicle for me was 'Sam Cooke's Greatest Hits.' It has a song called, 'Touch the Hem of His Garment.' Do you know that song? I kind of got obsessed with that song and started exploring and getting more of his old recordings with the Soul Stirrers and really getting into that super, super deeply.
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Johnny [Depp] got this rock 'n' roll old soul to him. If I say a song, he goes, 'Oh yeah. I know that song.' A song he shouldn't know, a song that's not his generation at all. So he might as well have been there.
Patrick started driving really fast, and just before we got to the tunnel. Sam stood up, and the wind turned her dress into ocean waves. When we hit the tunnel, all the sound got scooped up into a vacuum, and it was replaced by a song on the tape player. A beautiful song called “Landslide.” When we got out of the tunnel, Sam screamed this really fun scream, and there it was. Downtown. Lights on buildings and everything that makes you wonder. Sam sat down and started laughing. Patrick started laughing. I started laughing. And in that moment, I swear we were infinite.
Everyone has their own experiences with song. It means one thing to me and it means something entirely different to somebody else. I have a song called 'Apple Cherry' which is a song about unrequited love and to this couple in London, they fell in love to this song. The girl in the relationship called me and said she wanted to propose to her girlfriend could you sing 'Apple Cherry' while I do it? I was like 'Really? That's not a love song about getting together'.
The first time I heard Sam Cooke was in the 'Malcom X' film. I was with my father, and that's the first time I heard his song. I remember my father telling me the story of Sam Cooke.
When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.
This was the first time that he has ever looked into the labyrinth of the human soul. He was very far from understanding what he saw. But what was of more value, he felt and suffered with her. In years that were yet to come, he relived this memory in song, in the most beautiful song this world has known. For the understanding of the soul's defencelessness, of the conflict between the two poles, is not the source of the greatest song. The source of the greatest song is sympathy.
What's really cool about 'This is Me' is that our friends loved the song. Older punk rock fans don't know 'The Greatest Showman,' haven't seen the movie. And they hear that song and they're like, 'This just sounds like an awesome New Found Glory song. This is a really good song.'
The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.
it's about a love song to myself, and a love song to the universe, kind of like the way that Song of Solomon consists of love songs to God or like the way Sufi poems are erotic love songs to God, I kind of wanted something like that. Because I was getting to know myself more deeply at this point. I've always been on this track where I wanted to be enlightened.
An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.
The interesting thing about a song like 'Bulletproof Heart' - it was [originally] called 'Trans Am' - the interesting thing about the amalgamation of that song was that the song also lived within us, like we all got to live with the song and it was around for about a year before we recorded it again, so the song got to really transform, which you don't really get to do.
I think Sam Smith's dad got a huge loan or something to help his career. Those things can help artists get attention, but I guess my song 'Say You Won't Let Go' proved it's about the song.
When I was maybe three years old, I was obsessed with this song 'Leader of the Band' by Dan Fogelberg. My mom took me to the mall and bought me a 45 of it. We would listen to that song all the time.
I sang my song called "In This Song." David Foster wrote the song for me. I thought that I should sing a ballad song.
Sam Phillips asked me to go write a love song, or maybe a bitter weeper. So I wrote a song called, "Cry Cry Cry," went back in and recorded that for the other side of the record.
I did enjoy singing the song, called "The Count", which is Count Olaf's big song that he sings to the kids when they first arrive with his henchpeople. He wrote it himself, and he thinks he's really, really talented, and it's a terrible song. So we had to learn intentionally bad choreography... We did these almost Lady Gaga-ish kind of movements, which were just awful, but that made me laugh
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