A Quote by Pete Doherty
No one comes up to me asking for a crack dealer's number. People come up to me to talk about lyrics, about music, about the band.
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I have a structured songwriting process. I start with the music and try to come up with musical ideas, then the melody, then the hook, and the lyrics come last. Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
It's hard to talk about childhood trauma. It's hard to talk about depression. It's hard to talk about anxiety. And we thought - I wonder if we just open up our subconscious and the things that we think about and hide from people every day and just let them come out in some of these lyrics.
Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
My dad was all about music. He was a musician, leading a band when I was born. His band was active all through the 40s. He'd started it in the late 20s and 30s. According to the scrapbook, his band was doing quite well around the Boston area. During the Depression they were on radio. It was a jazz-oriented band. He was a trumpet player, and he wrote and arranged for the band. He taught me how to play the piano and read music, and taught me what he knew of standard tunes and so forth. It was a fantastic way to come up in music.
If people want to talk about Bob Dylan, I can talk about that. But my dad belongs to me and four other people exclusively. I'm very protective of that. And telling people whether he was affectionate is telling people a lot. It has so little to do with me. I come up against a wall.
For me music is central, so when one's talking about poetry, for the most part Plato's talking primarily about words, where I talk about notes, I talk about tone, I talk about timbre, I talk about rhythms.
I like to know about football and everything about a club when I play there, so I talk to people when they come up to me in the street.
I don't want to stand with somebody's praise. Whereas now when people come up to me, they say, "I love the bookstore" and "Kids! Come here, come here! This is the woman who owns the bookstore." That's incredible. I can say to that, "Thank you for shopping local. Thank you for coming in. What are you reading? Let's talk about books." It's about something I'm doing as opposed to somehow something I am. I feel comfortable and positive in that role. Because it's about reading. It's about books. It's about learning. It's about business and tax base.
People think it's not necessary to talk to another human being, and that's the part of it that I don't like. Some people will go up and want to talk to you about the music, which is cool; they're enthusiastic about the songs and know stuff about it, or, 'I really like your music. Nice to meet you.'
My favourite thing about live shows is you can make up new songs on the spot. Never played before, never again. And that's wonderful for me, because it frees me up to not have to worry about lyrics and stuff.
The lyrics just come out, and I don't know where from. I'm an incredible failure in relationships. I think there's a romantic ideal that I'm aspiring for. I don't know. The lyrics are always about unsuccessful relationships. They're not all about the love between a man and a woman. It's about friendship and family. Deep down there's a lot of talk about general existence.
I've had Motley fans come up to me and talk to me about Motley. I've had other fans talk to me about all the backing vocals and the tapes. I just ask them, 'At the end of the day, did you have a good time?' That's it.
Don't label me before we get a chance to talk about it. Talk to me first and see what kind of person I am. That's what I like to tell the media: Come talk to me, let's sit down and talk about what's really going on.
I'd entirely forgotten about Pass The Distance, and then I went to Japan in 2000, and was asked to do interviews with all these journalists, who were showing up with bootlegs of this record, asking me to talk about it. I was astonished. It kind of gained momentum.
People come up to us and ask how we knew so much about their own family... I'm talking about people from faraway places, too. I get people from Turkey and Chile coming up to me and saying I wrote about their family.
This business is about working. It's really not about glamour. For me, the most glamorous thing about it is to b able to get on stage and perform my music for people. That's the privilege. And that's what all the work leads up to, and that's why it's worth it to me.
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