A Quote by Robbie Robertson

I try not to think the song to death. The main criteria is if it's working on an emotional level. — © Robbie Robertson
I try not to think the song to death. The main criteria is if it's working on an emotional level.
I don't try to approach things any differently, songwriting-wise, regardless of what I'm doing. I try to write whatever the best thing is that I'm doing that day. If I'm working on a pop song, I'm working on a pop song to the best of my ability. If I'm working on a bluegrass song, it's the same thing. They're not really different parts of the brain.
Whether it be a reggae song, rock song, a love song, the main thing was just to, whatever I was feeling, to try to capture that emotion.
I think the emotion that song carries makes it good. Because you have to produce around something - an emotional attachment and a feeling. The melody itself has a feeling in it. The keys, the tones, frequency, sonics, all of those have feelings in it. Like, it's the ghost within, the music itself. That's what makes the song even have a possibility of being great. The emotional connection. Because if you don't have that, I don't think you really have a song.
When somebody brings me a record to mix, usually they feel like they can only get it so far with who they were working with or with themselves, and they just want somebody with fresh ears to take it to the next level. I just try to have a candid, open conversation with them about each song before we start working on it.
I think hunger is a natural state of being for most people. I mean, hunger is a desire - and you don't only have physical hunger, you have emotional hunger. A lot of my hungers are, in fact, emotional. I think a lot of fat people's hungers are emotional. There are things we very much want, and it can be so difficult to satisfy those hungers. Yet we try. We try so hard.
I try to write songs just for the song itself. I don't try and think about where it's going to end up, that way you're writing for the good of the song.
What I've learned how to do as I've gotten older is to take all of the information that I have, and push it aside, and try to distill each song into an emotional theme. The hardest thing that I've ever had to learn how to do in playing music is use the sound of my instrument to create an emotional effect.
What I try to do, what I attempt to do, is say things that I mean at least at an emotional level.
The main problem of America is that you're seeing people working all over this country two jobs, they're working three jobs, and they're getting nowhere in a hurry. They're working hard. They can't afford to send their kids to college in many instances. They can't afford child care for their little babies. They're worried to death about retirement.
I try not to obfuscate or to be to obscure or to be too cerebral. I like to work on a visceral, emotional level.
I'm still trying to find the perfect Nirvana song that's an example of that, but you do hear a lot of their songs start with an extremely emotional death grunts.
"My Trigger" is the best combination of song and track. "Heart Is Full" is maybe the best song we've done as a song, and that's why we try to play it in different ways, too, because I think for a lot of people the track was a bit distracting from the song.
I love working with women directors because of their emotional functionality and can undeniably connect with them on a fairly personal level.
I always try to write the best song I can in the moment, and those songs are often going to end up on Death Cab for Cutie records. I don't set out to write a solo song or write a band song. I just write, and where that songs ends up is kind of TBD.
I only want to be associated with music that is high quality. That's my main criteria.
I think the main thing that I've learned while working on 'Let's Stay Together' is how to balance mommyhood and working.
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