I've always loved songwriting, and I vowed to be a songwriter like Cole Porter when I was only 9 years old.
What I wanted to be and who I am is a singer and a songwriter. I wanted to be onstage, and I wanted the world to hear my music. The product of that is fame and the disgusting celebrity that goes along with it. But celebrity does not equal creativity.
I thought [ as a kid], "Maybe I don't want to start a punk band necessarily. I just want to learn to be a great songwriter," and got really into trying to figure out how that could be possible.
Frequently, as so many poets and psalmists and songwriters have said, the invisible shift happens through the broken places.
My theory is this; I'm not a political songwriter. I'm an honest songwriter.
As a singer-songwriter, a solo artist with a guitar, I can only write so many weepie little bedroom songs.
As a singer and songwriter, I have great admiration for many of the budding stars who come to try their hand at performing and can relate to the hopes and aspirations of all the contestants, no matter how good or bad.
Pieta Brown is a great singer/songwriter who possesses major star power magnetism.
For a producer, you want to be in L.A. You want to be close to the action, and in L.A. there are always singers, artists, songwriters, collaborators and other producers. It's easy to get access to all that, which gives you more opportunity to work records.
[Non-performing songwriters] climb the mountain the first time, take their successes in stride, and when they tumble down the mountain, they just consider the tumble part of their profession and don't even waste time mourning their slump. They continue to write, make new connections, and move forward toward a new round of success.
Especially on Broadway, composers and lyricists fretted over their creations, obsessed over every rhyme, every critical chord or interval. The stakes were so high. On Broadway, people were watching and judging, especially newspaper critics who knew a thousand ways to slice and dice a songwriter for the entertainment of hundreds of thousands of faithful readers. There was no anonymity for the Broadway songwriter. Even the best could find themselves stripped naked the morning after by the tastemakers and their readers.
Songwriting is a craft. Writing good songs on a a consistent basis doesn not happen spontaneously. In fact, most of our best songwriters learned to write good songs by writing a lot of not so good ones. Education matters in songwriting, just as it matters for physicists, chemists, doctors, lawyers and MBAs. Education lays the foundataion on which to build experience.
That is what diminishes the artist and his song. The artist is now hermetically sealed. The publishing company got him his deal and they expect to profit from his songs. So what if he is a better singer than a songwriter; let's put him in a room with a real songwriter. Something great is bound to come...except very often nothing great comes out of such contrived match-ups. Nobody knows where a great song comes from, and that's why so many writers credit the Lord as a co-writer (though I notice they never offer Him half the writer's royalties) when they come up with a real gem.
(For songwriters) Development of your facility as a musician is also important.
Songwriters are expanding time rather than compressing time. My short stories tend to be old fashioned, with a beginning, middle and end.
I've been close friends with Katy since teenagers, before she was Katy Perry. She's always been a great resource for me to pull from and watch - from her choice of how public she wants to be about her personal life on down. I also watched her develop from the coffee-house singer-songwriter I knew to her be to playing arenas and killing it.
As an artist, I always just want to grow as a songwriter. I listen to a lot of music. I listen to music all the time, whether it's hip-hop or soul or rock or whatever. I'm always listening to music and trying to learn from other songwriters and how they tap into certain emotions and communicate more clearly.
I don't think there's any problem with working with a songwriter or a producer, but I just don't think you should completely hand it over to them.
I am a musician, a songwriter, music fan. I live in New York City and I love my job.
I think my music is born out of the music that I personally like to listen to. I love amazing singer-songwriters and diverse artists but it's important to know your strengths.
I wake up in the morning, or the middle of the night when an idea comes through. My songwriting style, basically I just write down information given to me from the muse and how that works for songwriters. Record the muse and the muse delivers.
I never took singing lessons. I guess, I feel comfortable with it, but I do not feel like a singer. I never want to sing without a guitar in my hand. I consider myself more of a songwriter, rather than a singer. I could never be in a wedding band and just sing Marvin Gaye songs.
What I definitely learnt from Michael Jackson is that simple is almost always better. As a songwriter, as an artist period.
It's funny, I think after you are a star like Sting and you no longer think you need any guidance or aid - it would be great to see those stars work with other songwriters.
I don't know how to make magic. For most songwriter's that has only happened once or twice, and I don't know how to re-create that. I know that there are some tricks and tools, but the magic is the amazing part.
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