A Quote by Nick Lowe
You've got to really know your song, inside and out.
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'You'll Accomp'ny Me' is a song I've always really cherished. The guy in that song is just so courageous. He's saying this to the girl, 'I know you've got to go do your thing, but eventually, we'll be together. I feel that strong, and I know it in my soul.' And there's something really cool about that.
It's a template record for the intersection between pop and noise, starting out with 'Sunday Morning' - a real beautiful, almost innocent sunny day song. You have a lot of different types of things on one record. It can be really pretty, or it can be really awful inside, depending on where your head's at at the moment. I got it in ninth grade and I think I've listened to it every month since then.
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.
But don't forget who you really are. And I'm not talking about your so-called real name. All names are made up by someone else, even the one your parents gave you. You know who you really are. When you're alone at night, looking up at the stars, or maybe lying in your bed in total darkness, you know that nameless person inside you...Your muscles will toughen. So will your heart and soul. That's necessary for survival. But don't lose touch with that person deep inside you, or else you won't really have survived at all.
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, any of your audition songs should really be a song that you are so confident with and can pull out of your back pocket. Find a song that shows your entire range very quickly.
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
Every song that I record, I love, it's like my new favorite. But one that really stands out to me is a song I debuted on tour with Trey Songz called "Angel". It's a really acoustic sounding and it's a really big song.
If you take a song like 'We Will, We Will Rock You,' 'You got blood on your face... ' - he's rhyming on that! And if you take the lyrics out of that song, you get a hip-hop beat. It's a rock song, though. So it's not out of my element for me to get with Black Lips.
If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of the street, on the roof of a house. It's clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It's a wordless song, for the most, but it's a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note.
Getting the message out there to speak out is huge, and I think you can be the brightest person in the room, but people never know what's going on really inside and the hardest thing is to speak out. You've got to speak out. I think sometimes you maybe hold it all in and it can get too much at times.
I've always been able to get inside a song really easily, and if it's my song, I can make it seem honest.
When you've got an extra gear in your head where that's all you do, you've constantly got a little radar up. ... And when something hits that strikes that beeper, hits that radar, it's like my song skills kick right in and go, 'Oh, OK, there's a song in that.' And then I start trying to figure it out.
Lyrics mean a lot to me, and I won't record a song unless I can feel it. That's something I learned from Carter Stanley. Even when he wasn't perfect technically, he got inside a song and sold it emotionally.
You know your inside, and you know the others' outside: that creates jealousy. They know your outside, and they know their inside: that creates jealousy. Nobody else knows your inside. There you know you are nothing, worthless. And the others on the outside look so smiling. Their smiles may be phony, but how can you know that they are phony? Maybe their hearts are also smiling. You know your smile is phony, because your heart is not smiling at all, it may be crying and weeping.
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.'
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