Adele Adkins' retro-soul debut, '19', was striking less for her songs than for that voice: a voluptuous, slightly parched alto that swooped and fluttered like a Dusty Springfield student trying to upstage her teacher, or at least update the rules.
Whether the issue was black political power or nuclear power, Scott-Heron didn't mince words. His comeback record, "I'm New Here," doesn't mince words either, but instead of political battles, these songs suggest he's fighting personal ones.
I work so I don't need to make rent through my songs, and I think if more people engaged with music without needing it to provide for their welfare, you're not beholden to anyone.
My focus is always on the day. What I've done behind me, I try to have respect for it, and keep an eye on it, and make sure it isn't abused, and obviously be thoughtful about it, because it's all real to me. I'm basically in every band I ever was in, and the songs, I still mean them all.
The one hit song that I have tremendous gratitude for is Boots, because it has a life of its own. It's like being identified with a brand name.
My first favorite band that made music important to me was the Beatles. I was a little kid. I didn't know who was singing what song or who wrote what song.
Once you sit in front of people and start playing songs, it's all on you. No matter what happens, it's entirely your responsibility the entire time. I like that intensity.
This is a song called 'The Kill.' But don't be scared, it's a nice song. About losing your mind.
Treat each guitar track-and each song-completely different. For example, if I'm using a certain amp and guitar on one track, I'll deliberately use something else for the next tune or overdub.
My most cryptic, strange songs might be my most personal, but that isn't how people are going to receive them, because they don't know the code.
I've always had mostly women come out to see me perform. That's the reason the guys show up; they know R. Kelly is going to draw the women. Most of the songs I'm singing are catering to women anyway.
The buzz you get when you're playing a song and everyone is screaming and dancing and what have you and singing along is incredible.
Bob Altman got nothing from the TV series 'M*A*S*H,' and the royalties for the theme song went to his oldest son, Michael, who wrote it as a 15-year-old poet!
I usually enter the studio with a mix of songs that I've been listening to that are relevant to the sound I want to achieve.
I have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.
I sometimes try to write something that is actually really simple and I can't do it. So, then, it's not simple anymore. It's really hard and it gets all messed up. I sometimes sit down and try to write a song with just three chords and it doesn't work.
It's a gift that I have and I became good at it. When I heard my first song I didn't even know that I could write songs.
I don't take off as many days as most other producers and songwriters, so I'm working every single day, and I do songs every day. So it's just about finding time, scheduling, getting in and cutting the records. I make it happen and that's the name of the game. It's no excuses - you gotta figure it out.
I watch artists say they wrote all these songs and don't mention anybody else who was involved, and that's fine. I don't expect an artist to give me credit. I know that they're gonna take the credit for everything. But, it's my job to give myself that exposure and not make excuses, not grow bitter.
It's just a lot of fun to be able to see your ideas come into fruition. And to see people translate the things that come out of my mind vocally. And to be able to produce vocals and give people my point of view musically. And to be able to sit in the crowd and see people sing the song that I wrote, it's an amazing feeling.
Writing a song is like playing a series of downs in football: Lots of rules, timing is crucial, lots of boundaries, lots of protective gear, lots of stopping and starting.
Well mostly in song writing my experience is that there isn't so much inspiration as hard work. You sit there for hours, days and weeks with a guitar and piano until something good comes.
We'll only be playing four new songs live, but all the material for the next album is basically finished.
What you hear about the band is always going to be more disturbing than any particular song.
I can remember back as far as age 8, performing with the Boston Folk Song Society. It was a Woody Guthrie song.
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