A Quote by Scott Weiland
I listened to a lot of Bob Dylan songs to see how he works. I've gotten into writing story-songs.
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I started writing rather late in the game. I was fascinated about the story about how Bob Dylan, for 'Nashville Skyline,' wrote between takes. So I'd try to sing new songs off the top of my head. I had rather less than spectacular success on that. But a lot of my songs were done that way.
I think everyone mentions Bob Dylan, but he's someone I just admire so much as a songwriter. I think people write songs, and then there's Bob Dylan songs. He's one step ahead of just everybody else.
I learned Neil Young songs, Bob Dylan songs and older songs. It wasn't until I moved to Philly that I had aspirations to maybe forming a band.
My favorite Bob Dylan record is the very first one where he sings one Bob Dylan song and the rest of them are his interpretations of the Dust Bowl-era folk songs, or even going back as far as the mass influx of people coming into the U.S. during the gold rush. His interpretations of those songs are incredible.
We didn't have the phrase 'style icon' when I was young, but I have to say, I really copied Bob Dylan when I was younger: a little bit of Bob Dylan or a lot of Bob Dylan and the French symbolist poets - I liked how they dressed - and Catholic school boys.
Lolita' was written at a time when we were heavily listening to more dance, electronic, and trance, and then on the flip side we were writing country-pop songs like 'Born Bob Dylan' or our acoustic songs, or trip-hop.
Bob Dylan, Neil Young, Merle Haggard, Hank Williams. All of them are different styles, but those are the songs that make the times. They're the songs that last through time.
The thing about Bob Dylan's performative essence is that he keeps singing these old songs as well as the new songs, and the old songs become new with new arrangements and new contexts as time goes by.
I don't care if it's a Cole Porter song, or George Gershwin, or Lennon/McCartney, or Elton John, or you know, whoever, Bob Dylan. Great songs are great songs, and they stand the test of time, and they can be interpreted and recorded with many points of view, but yet still retain the essence of what makes them good songs.
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.
When I was younger it was a lot of quantity over quality. Just writing, writing, writing. Hundreds of songs. Now it's fewer songs. If I write 10 songs I believe 80 percent of them are good and gonna be used.
Songs came first. I started out in 1965 trying to copy the Beatles, Bob Dylan, and the Stones, like most kids I knew. I'm still trying. Songs are hard to beat.
I've written a lot of songs in the last couple years, but writing a lot of songs doesn't always mean writing good songs.
Most of the songs came from Europe and Africa and now they were coming back to us. Many of [Bob] Dylan's best songs came from Scotland, Ireland or England. It was a sort of cultural exchange.
I'm also a big Bob Dylan fan. The songs on The Freewheelin' Bob Dylan - which is one of his best early albums - they grow out of some of his difficulties with Suze Rotolo, and "Hard Rain," people say it had to do with the Cuban missile crisis - probably not. He denied it. I believe him, but it certainly had to do with the time.
In the meantime [1963-65], [Bob] Dylan was writing some of the best love songs in the genre, like "Girl From the North Country," "Don't Think Twice, It's Alright," and "It Ain't Me, Babe."
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