A Quote by Prince
I do pay performance royalties on others' songs I perform live, but I'm not recording these songs and putting them up for sale.
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I love nothing more than to perform my songs in front of a live audience. And whatever I'm doing is driven toward finding or writing songs and putting out hit songs that drive people coming to see me live. Because, at the end of the day, that's what I enjoy the most.
When I'm writing obviously I have all the nostalgia in the world, I have all the emotion in the world, but then when I actually perform, I need to just perform it, and that's it. I do retain like a little bit of it because I have to, I sing and perform the songs so I have to - it's a performance of the songs - but I just have to get the right balance.
With great artists like Elvis, sometimes the songs weren't the greatest thing about him. When I tried to perform some of the songs, I noticed some of the tunes weren't all that brilliant, but it was the performance that sold them.
As far as my favorite songs to perform live, most of the songs we did live were my favorite. If they weren't, I would have gotten rid of them.
In most cases, my favorite Jethro Tull songs will be determined by how I feel about them as live performance songs, not by the recorded identity.
Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
The songs came from a more solitary place and I hadn't played them with many people before recording. So I just added the layers of people who are in my life, and built up the songs.
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.
When you write a show, you just never know if it will have a future or if the show will end up ever having a production, but, that doesn't mean that the songs - the best of the best songs - can't be pulled out and put on a CD. And, if the shows that they come from end up happening, then people will regard this as like a quirky little concept recording. And, if the shows don't end up happening, at least the songs will live on in some capacity.
By the time I wrote those first three songs for his new CD ... I wanted to push the poetics as hard as I could push them, and not decide the songs were finished until I committed them to whatever the recording format was. I went through drafts right up until I recorded every single one of them.
There will be slow songs, sad songs, happy songs, songs about boys, and songs about being who you are. I'm making sure I'm happy with all of the songs, because if I am not happy with them, I can't expect anyone else to be, you know?
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.
Writing the songs and producing the songs and arranging them and recording them is your canvas and your palette and your brush.
All the new songs have been written since the re-issue of Diamond Day. With my first royalties I got a Mac and a little mixer and a keyboard, figured out the basics of a music program, and gradually started to write and record the songs and the arrangements.
I don't do filler songs. I don't get them. They don't make any sense to me. Why would I literally waste my time on a song that doesn't hold up to the same standards as the other songs on the album? I won't play it live.
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