A Quote by John Densmore

For us, anyone can record our songs. Anyone can cover our songs. — © John Densmore
For us, anyone can record our songs. Anyone can cover our songs.
There will be slow songs, sad songs, happy songs, songs about boys, and songs about being who you are. I'm making sure I'm happy with all of the songs, because if I am not happy with them, I can't expect anyone else to be, you know?
That's what is so great about being able to record a 13-song album. You can do a very eclectic group of songs. You do have some almost pop songs in there, but you do have your traditional country, story songs. You have your ballads, your happy songs, your sad songs, your love songs, and your feisty songs.
My aim is always catchy songs, or songs with meaning and I want to write music people can relate to, about things anyone could go through, just real, honest music... songs that mean something, songs that are inspired by true life events.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
Red House Painters were doing cover songs before our first record deal. I remember live shows where we did an AC/DC song; I think we did 'Send In The Clowns' by Judy Collins. We did 'The Star Spangled Banner,' which came out on our third record.
Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.
'Alligator' was the first record that anyone paid attention to, and it seemed like it was the screamy songs that got us that attention.
I've always covered some Dylan songs. I do one or two. And I do them because they're great songs. You know some people cover songs they wish they could have written, not me. I like to cover songs I know I could not have ever written.
It was just a mercy f**k, as it was our 30th anniversary. They gave Grammy to us for a cover of somebody else's song. It would have a lot more meaning if it had been for one of our songs.
There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.
So we've done science songs. We've done historical songs. A lot of people would like us to do more historical songs. Our history record would probably be like the people's history of the United States, set to music.
I'd always wanted to do an R&B and soul record; a friend with a studio asked to come by and record a couple of songs, maybe just make a 45. Then the songs started to pour out, and pretty soon we had eight or 10 songs down.
All of our songs, no matter what record they're on, mean a lot to us.
Anyone of any age or background who loved pop music liked our songs.
I think my legacy is important because my songs - perhaps more than those of any other songwriter I know - cover every movement from 1965 on, socially and artistically. If you want songs about ecology, I've got ecology songs; if you want songs about spirituality, I've got spiritual songs.
Oh, I'll tell you about 'Anyone Can Whistle' - the lesson I learned with doing that record is that the simplest songs are the hardest to do.
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