A Quote by Josh Tillman

I had this revelation, you are a lot better at the between-song stuff than you are at the song stuff. That was devastating. And I usually find devastating things to be pretty valuable.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
I don't listen to a lot of new stuff. I just like the old stuff. It's all quite dramatic and atmospheric. You'd have an entire story in song. I never listen to, like, white music - I couldn't sing you a Zeppelin or Floyd song.
The difference between a good song and a great song is a good song is one that you know, you'll put on in your car or you'll dance to it. But I think a great song you'll cry to it, or you get chills. I think a great song says how you feel better than you could.
I played a couple of ideas and then had this unusual texture underneath which was like this little granulated kind of pipe organ almost like a scratchy record which he started [inaudible] brilliantly. "Oh I love that song." And when things go fine, it's good. So he started loving that song and that song was used quite a lot in the movie which is very granulated stuff on the guitar.
Revising a screenplay is much more frustrating than revising a song because you have to read through the entire work again while you are changing stuff. It is a lot easier to edit a song.
I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.
It's hard to say a favorite song of my father's. I listen to all his stuff - a lot of the old stuff before the '70s.
It's hard to say a favorite song of my father's. I listen to all his stuff; a lot of the old stuff before the '70s.
I'm one of those people that I make a song... then I write another song and then I'm like, 'But this song is so much better than this song,' and then I kind of ditch that song. It's a long process.
All the carbon copies, the stuff that the industry puts together, it's not selling if you pay attention and look at the charts. The stuff that they put together, these hits that just go out, it doesn't sell. It doesn't have a core fan base of fans that dedicatedly watch their life. It's just a song, another song, another hit song, a one-hit wonder. It doesn't sell. It doesn't last.
We all record together. We do it live; then, after that, we do overdubs, if we need to, to repair stuff. Usually when we do stuff, we have to make sure we get the bass and drums down, and by doing it live, you're actually playing the song. You're not piecing together a song.
In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.
It's many things that she had to deal with, and she got to the point where [my wife] didn't know what to believe anymore and she just didn't care to live her life anymore. I think it was devastating at that particular time, and it's even more devastating today as we grow older.
My songs, they have just the one chord, there's none of that fancy stuff you hear now, with lots of chords in one song. If I find another chord I leave it for another song.
'Soulfire' is a collection of stuff I've done in the past. Each song is an element of who I am: There's a doo-wop song on the album; a blues song, R&B and some jazz. For people who are going to be hearing me for the first time, it's an introduction to who I am.
Yeah, 'Mine' was inspired by a person, but it became much deeper than that. I obviously pulled lyrics... from stuff I was actually saying to this person and feeling about this person, but it was for people. I didn't want to make that song to impress that girl; I wanted to make that song to make people feel better.
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