A Quote by Nate Ruess
I don't want to be known for anything other than writing songs.
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You want songs to sound cohesive with the other songs on the record but when you first start writing you just want to write to tell the truth.
In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.
I don't want to be known for anything other than the fact that I play characters in movies.
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.
It's not a bad problem to have because a lot of classic acts are known for one or two songs and in their show they basically hold those songs off until the end and you sit through an hour or so of lesser known material but in our case most of the songs are well known.
When I was writing some of songs for the record in Galapagos it was the feeling of being there I wanted to evoke more than anything. I remember hearing all the parts of the songs in my mind when I was walking around over the lava fields.
I don't want to be anything other than what I've been trying to be lately. All I have to do is think of me and I have peace of mind. I'm tired of looking 'round rooms wondering what I've got to do or who I'm supposed to be. I don't want to be anything other than me.
I don't think we've ever known what the hell's going on when we do Tap shows. It's possible the audience are effectively getting to see more of the movie when we play. You know, they know the songs, so anything we do onstage, whether we're meaning to or not, is an extension of the film. Other than that, I wouldn't understand what's going on.
When I was younger it was a lot of quantity over quality. Just writing, writing, writing. Hundreds of songs. Now it's fewer songs. If I write 10 songs I believe 80 percent of them are good and gonna be used.
You need to get outside of your comfort zone to write songs that are interesting, songs that are compelling, songs that are different from what other people are writing.
What I mean is I'd rather be a Burt Bacharach figure, where if I did gigs there'd be other people there singing the songs. I just don't want to promote myself as an artist if you like. I've been writing loads and loads of songs and I want to feed them out and produce artists. But I have to do that from a center. There has to be a structure. It has to be from a company that has an image, that has a name.
I'm writing all the time. And as the songs begin to coalesce, I'm not doing anything else but writing. I wish I were one of those people who wrote songs quickly. But I'm not. So it takes me a great deal of time to find out what the song is.
Nothing makes me happier than writing a song that I think is good or that I want to play. Writing songs helps me.
8th grade I started writing my own songs. They weren't good songs or anything, but it was always the song writing aspect of things that was important to me, I always just wanted to create a song it seemed like.
Everybody used to be busy writing songs - great songs - that became hits. Now everybody's writing hits. Everybody's desperately writing a hit because they know they can't survive if they don't have a hit. Where in the past, we were writing a song like 'More Than Words' on a porch, not really believing it was gonna be a hit.
I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
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