A Quote by Paul Young

Since I'm known for recording other artists' material, I'm absolutely deluged with mail from all the publishing companies. They take all the songs that've been lying around the office for months and throw them at me. Most of them are terrible, but you have to listen... just in case.
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.
Once I'd chosen the songs, it seemed like it would just be a question then of recording them. But it's a case of trying to re-invent the songs; taking them in different directions.
There are certain songs that are sacred. People want to hear them just as they are in their head; they don't want you messing around with them. And then there are some other songs, if they've been around a long time in our set list, that I think we can take some creative liberties with.
Most of the people you see me working for me are actually with me. And I'm proud to say that I've known them for 20 years almost. I've written songs with, produced songs with them a lot of times. I don't deviate form my comfort zone. I feel like when God brings people to you, it's good to keep 'em around.
There's songs you listen to at really heavy times, and you associate those songs with being depressed. 'English Rose' by The Jam, I can't listen to - it's just too heavy for me. 'Julia' by The Beatles, too. That popped up the other day, and I had to skip to the next song. They're both really awesome, moving songs, but I can't listen to them.
I suspect that the most basic and powerful way to connect to another person is to listen. Just listen. Perhaps the most important thing we ever give each other is our attention And especially if it's given from the heart. When people are talking, there's no need to do anything but receive them. Just take them in. Listen to what they're saying. Care about it. Most times caring about it is even more important than understanding it. Most of us don't value ourselves or our love enough to know this.
Now, almost twenty years since my last job in book publishing, I know that there are far more socially inept people in book than in magazine publishing. At the time, however, I just didn't feel I was enough: smart enough, savvy enough, well read enough, educated enough, charming enough. Much of this was probably because I was very naive, and didn't really know how to behave in an office. This made me a terrible assistant, which in turn made me a terrible junior book editor.
Unhappy people do the oddest, most terrible things, just trying to keep despair at bay. All you have to do is accept them...go around them...take evasive action.
When you actually take the time to go over to somebody's office and personally thank them - whether their office is in a cockpit of an airplane, or in a break room - that's an actual manifestation of interest in them. You need to take the time to show the people around you who work for you that you're interested in them.
I see how people boss other actors around to try to get a scene favorable to them. I absolutely just never engage in doing that. If someone's going to do it to me, I just let them have it.
Instead of giving all your best tracks to artists, producers now have the opportunity where we can take our favorite beats we make and put our favorite artists on them and release fun songs for people to listen to.
If you take guys who have been off who have had very limited opportunity to work out and train and haven't skated in months, you can't just throw them back into games. Everyone's going to get hurt.
Have you noticed that they put advertisements in with your bills now? Like bills aren't distasteful enough, they have to stuff junk mail in there with them. I get back at them. I put garbage in with my check when I mail it in. Coffee grinds, banana peels...I write, "Could you throw this away for me?"
And mostly all I have to say about these songs is that I love them, and want to sing along to them, and force other people to listen to them, and get cross when these other people don't like them as much as I do.
If you are a cabaret artist and you are mostly singing other people's songs, you're asking them to rethink a song, listen to it in a different way. The most impact you can have while asking them to re-listen to a song is if it's a song they know very well.
When it comes to my songs I'm confident. Back in 1967, I would go to a publisher's office, and tell them they just had to listen to my music.
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