A Quote by Dennis DeYoung
If you are going to take me a to a musical, you'd better give me three songs that I'm gonna like. Nobody goes to the opera for the recitative. They go for the aria.
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I was driving in Manhattan. There's traffic, nobody's moving... The guy behind me is honking just at me. He kept yelling at me. I decided that I'm gonna argue with this guy, but I'm gonna argue about something else. I'm not having his argument; I'm having mine. So, he's like, 'Go!' And I go, 'Well give me back my jacket!' And he stopped. I was like, 'Yeah, you got my jacket! Give it back! I said you could borrow it, not have it! You're stretching it out, you fat pig! Give it back, now!' He got back in his car, and he locked his doors.
Most songs I write are spur-of-the-moment-type things. I have to be spontaneous. If not, songwriting can bore me. There is no pre-design or idea of what I am going to do when I go into the studio. It's all like that for me. I could go in and write two or three songs in an eight-hour session. You can't over-think songs. You just can't.
If you don't believe inside yourself that you can learn a lot, nobody's ever going to do that for you. Nobody's ever gonna give you self drive. Nobody's ever gonna give you self esteem. Nobody's ever gonna give you your self worth. You have to set it for yourself.
And Paul Moravec, not being a theater person, would always trust me when I said things that I am like, "you're going to need another 10 seconds of music year to get them across the stage." But I always knew that the people were going to be coming to hear his music of which my words are going to be a part. It was clear that he wanted to go and direction A., and I wanted to go and direction B. We would've gone and direction A. That's the most important piece of advice I can give to anybody who finds themselves in an opera, or musical comedy situation like that.
Gimme the tune. Do I like this tune? Does it sound like another tune that I like? The more familiar it is, the better I like it. Hear those three notes there? Those are the three notes I can sing along with. I like those notes very, very much. Give me a beat. Not a fancy one. Give me a GOOD BEAT -- something I can dance to. It has to go boom-bap, boom-boom-BAP. If it doesn't, I will hate it very, very much. Also, I want it right away -- and then, write me some more songs like that -- over and over and over again, because I'm really into music.
Basically, my deal is that I choose roles based on three criteria. One is the role, obviously, if it's something that speaks to me. Two is, are they gonna pay me? And three is, who am I gonna work with? And, really, if one of those is there, I'm pretty likely to do it, but it's particularly important to me who I'm going to work with, 'cause that's part of the joy.
Why don't you like Noel Kahn?" Mike's voice made Aria jump. He stood a few feet away from Aria with a carton of orange juice in his hand."He's the man." Aria groaned. "If you like him so much why don't you go out with him?
It is jazz music that called me to be a musician and I have always sang the songs that moved me the most. Singers, like Frank Sinatra and myself, we interpret the songs that we like. Not unlike a Shakespearean actor that goes back to the greatest words ever written, we go back to the greatest songs.
They can sonically sound like me, but nobody's ever gonna be able to write songs like T-Pain. There's only one of those.
We don't experience our lives as plots. If I asked you to tell me what your last week was like, you're not really gonna give me plot. You're gonna give me sort of linked narrative. And I wanted to see how do we bring that into fiction without losing the reader.
I wouldn't just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.
I'm not going to go to a producer that's going to take me in a studio and charge me my whole budget and give me a fake head nod. I'm just trying to make good music. I appreciate everybody that's supporting me.
You gotta know that you're better than anybody, 'cause to me, if you don't go in like that, you're gonna lose! They're gonna punk you out! On any stage, court, business venture, on the anchor desk - whatever. You've got to go in believing, 'I can do this better than anybody.'
I know that the gift that God gave me isn't gonna just wither up and die unless I let it die, so it's a matter of me having the faith that it's gonna come out. Whether or not the public's gonna like it is another story. But I think as long as I keep changing and sticking to what I really love - and the same goes for Steven and the other guys in the band - then people are gonna like it.
If you can give it, I can take it
'Cause if this heart is gonna break it's gonna take a lot to break it
I know tonight, somebody's gonna win the fight
So if you're so tough, come on and prove it
Your heart is down for the count and you know you're gonna lose it
Tonight you're gonna go down in flames
Just like Jesse James
I feel like, when we're kids, you're sold into this fairy tale of what love is. That Prince Charming's gonna come along and save you and you're gonna live happily ever after. They're gonna rescue me from the Bronx, and we're gonna go off and live in a castle somewhere and it's gonna be awesome. He's gonna love me forever, and I'm gonna love him forever, and it's gonna be real easy. And it's so different than that.
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