A Quote by Pardis Sabeti
I don't really love to perform in music. Some people like it more, but it's not my thing so much, but just the writing, when you get the lyric, and the lyric just goes just the right way, or you find the right bridge that takes you to the solo, and those moments are tremendous, and it's difficult to portray.
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My job is to be some sort of music/lyric psychic, to figure out that that's the right song to not fight the lyric.
When I'm writing a lyric, I totally forget about the music. I'm just looking at the lyric and thinking about it almost as a separate entity. And then I'll go to my keyboard with all the lyrics printed out and try to think of how to make this a complete musical thing. I've got a very basic keyboard with some presets.
When you get just that right audience and just that right sound on stage and you can just sit back and kinda just let it happen and it's not really any work. I love those moments. Nothing can beat that for me.
I don't have some songwriting formula that I kinda go by. Usually it just comes by way of inspiration. Sometimes I'm inspired by a melody first and sometimes I'm inspired by a lyric. Typically, I'm inspired by an idea for a lyric and then after we get the lyric going then we write a melody to it.
In country music the lyric is important and the melodies get a little more complex all the time, and you hear marvelous new singers who are interested in writing and interpreting a lyric and in all form of popular music.
I think what we find fascinating and interesting is when people take our music and turn it into emotionally something else. And weirdly, Lorde's version of 'Everybody Wants to Rule the World,' the production really goes with the lyric more than our version does, because our version, albeit the lyric is dark, the music is quite uplifting.
People who don't like musicals like, 'why are they singing? Why aren't they just talking? If you make the lyric feel really conversational, it's much easier for them to bridge that gap.
It's very rare - and it does happen on occasion - where I'll take a piece of lyric and I'll just sit down and purposefully craft that melody around that lyric because I think the lyric is the wellspring for the song, without question.
It all starts from the lyric with me. If I work really hard on the lyric and get it right, then it will tell me whatever else to do, where to go.
When you do a lyric for 'April in Paris,' those who have heard it before can hear it in a different way now. It can add perspective to a great piece of music that does not have a lyric and may be inaccessible to lot of ears because people don't deal with complex music very well.
I have a tape recorder, and I just sing into it. I like to write that way. Sometimes I'll just get melodic ideas, and then I'll go home and sit down and add the lyrics. Or sometimes I'll get a lyric idea that I love. Usually it's pretty combined. Usually I get some kind of a lyrical concept and a melody and work with that.
When I listen to a song, I don't say, 'Oh my gosh, that vocal line she sang was the best thing I ever heard.' I'm thinking, 'That lyric just moves me. That lyric just said what I feel better than I could say it myself.'
I am committed now to one thing: lyric sequences. I want the intensity of lyric, but the scope and arc of narrative. so, I think I'll just write sequences for the foreseeable (the Beloved sequence doesn't have a 'plot' so I can just keep adding poems to it, it's like a giant bag I can just put beloved lyrics into - I think there are about 300 of them i've published by now).
I really do seek to create music that is timeless, ... Each project takes on its own life, and the songs from "A Time To Love" are the most appropriate for the statement I wanted to make...The most important thing is, when I do give the music, I'm satisfied with it, that it speaks for what I want to do...It is a different kind of lyric; it's very picturesque. I can see everything that I'm writing, I can visualize all those things happening.
Some of the songs on the radio are really outrageous. I listen to the lyric. If the lyric doesn't make sense, I don't like the song.
Science-fiction cities in general, I think, are so hard to get right, because it's so easy to just play some cheesy music or do something that takes you right out of it, but 'Blade Runner' got it right, and I love that about the film.
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