A Quote by Jimmy Page
When I was still in the Yardbirds, our producer, Mickie Most, would always try to get us to record all these horrible songs. During one session, we recorded 'Ten Little Indians,' an extremely silly song that featured a truly awful brass arrangement.
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I always try to write a song, I never just want to write a record. Originally I was not writing songs for myself. ....And I can say this, most of the people who have recorded my songs are songwriters themselves. ... Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential. When you write a song, a song has longevity. ... So I wanted to sing inspirational music, and that's exactly how I approached it-only the words have been changed to declare my relationship with God. Songwriting is my gift from God.
Every single day I wrote a song, I was hoping somebody like Luke Bryan, Jason Aldean or whoever would record the song. It's tough to do because there are so many great songwriters in Nashville, and I was lucky enough to get some songs recorded before I got my record deal.
We'll set up a demo session and try to knock out eight or ten songs and make them sound as close as we can to a record with the money and time we have.
My philosophy on writing a song for myself is that I always, always, always want to write a song. I always want to write a song. I realize that as a record producer or a singer or whatever I might not, if I recorded on myself or someone else, the first time out I might not give it the right treatment, so that the world or many people will accept it and it'll be a public hit, or anything like that.
I kind of, I have quite a clear idea of what I'm trying to do with a record. A Super Furry Animals record is always an adventure, because there's five members of the group and everyone is a producer, we all throw in ideas, and regardless of who writes the song, the songs always get pushed around and shape-shifted to fit everyone in the band. So when I start a record with Super Furry Animals I can never predict how it'll turn out.
It always offended me when I was in the studio and the engineer or the assumed producer for the session would start bossing the band around. That always seemed like a horrible insult to me.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
Here's the way the licensing works ... If you write a song, nobody can record your song before you do without your permission. But, once the song is recorded, they can get what's called a 'compulsory license', and they can record the tune, but they have to pay you royalties.
The idea of listening to a record that's in one generic style, it becomes quite boring after the third or fourth song, in my opinion. It just becomes a bit... when you've got the same arrangement on a song, your ears get tired. I come from a DJ background and it's about trying to put songs together that don't fit necessarily but you can get away with putting them next to each other. I think of myself as a punter and ask myself: what would I like to hear?
One of the songs we recorded for 'The Long Run' was called 'You're Really High, Aren't You?' Which never really made it onto a record, but later on, it became 'Heavy Metal.' I took that track that wasn't used, and when I was invited to write a song for that movie, I took that track and recorded that song for that movie.
Every record has been very different, so I can't really compare them. The first record was good. I originally recorded about half the songs on that one in 2003 or something, and then I went back a few years later and re-recorded them and added some other songs.
At first, I didn't focus that much on the Internet. I was more, 'I'm going to write songs,' and I'd have sung that song out in a club, pub, or a jam session or whatever 10 times before I recorded it. We live in an Internet age, and if you don't embrace it, you get left behind a bit.
The tune 'All My Friends,' we recorded because our friend who wrote the song, Scott Boyer, passed way, and Gregg Allman had passed and he had recorded the song on his first solo record.
I can remember when I was just, like, about four years old in Compton, and my mother would have me stack 45s, stack about ten of them, and when one would finish, the next record would drop. It was like I was DJ'ing for the house, picking out certain songs and so this song would go after that song.
I wanted to try to make songs that worked as songs, not just as productions. People wanted me to do a solo acoustic session, they were like "Can you play song on the piano?" and I was like "Not really. It doesn't really work." I wanted to write songs that would work in a variation of instrumentation.
I was singing a lot of waltzes. And I was with Jerry Kennedy, my producer, and he was playing me some songs, and he said, hey, I want to play you this song that I'm going to get Jackie Ward to record.
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