A Quote by Tim Finn

Why can't you write a great pop song when you are 85? Maybe you can. — © Tim Finn
Why can't you write a great pop song when you are 85? Maybe you can.
I realized probably when I was, like, 20 years old that the hardest thing to do is to write a pop song - not, like, a candy-pop, throwaway pop song.
To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.
Pop is like a puzzle: to write a perfect pop song, you never know, and there's so much that can happen in a second with a song.
That’s one of the great things about music. You can sing a song to 85,000 people and they’ll sing it back for 85,000 different reasons.
With 'Torches,' I wanted to make a great pop record; I wanted every song to be exciting, not to have too much space, no long pieces of music without vocals. I kind of wanted to write the perfect pop album.
I love pop music. It's not easy to write a good pop song.
I like to write pop songs and the stuff I write is fairly poppy, so I thought maybe my lot in life was to write pop songs for people. It never felt right writing songs for other people to sing, though.
You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
It's weird because when you initially write a song, you write it with no understanding that the world is maybe going to hear it one day. So when you go into the studio, you don't see the hundreds of people at a gig or the viewers on TV, you just write a song without any inhibitions or boundaries.
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.
I feel like, when you turn on the radio and you hear a great song, you know it's a great song, and you sing along. We all know what a great song sounds like, so we all have that instinct, it's just being able to accept your own instincts when you write that song.
Pop is a little bit theatrical. That's the whole vibe. That's the point - is that it's great music, great melodies, great hooks. But, on top of it, it's a presentation. There's a showmanship about it. And that's why I wanted to be a pop star.
He's 85 and he's met another woman. Still, at 85, why ever not?
You have to ration your creativity over all your songs. You write a really cool pop song then you have to write a heavy song to balance out, then you need to think about singles.
You don't really write a hit song - you write a great song, and then, if the public decides it's a hit, they take over from there. The song becomes its own monster.
I think pop music was going through a phase where it was like pop but dance-hall or pop but R&B. But, no, I just want a pop song.
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