I compose and he doesn't compose. I cannot admire the composition of his music, only a few songs are good.
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Such vulgar songs are harmful to kids, since most of whom still have difficulties to tell what is good from what is bad.
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I was worried as a Johnny Cash fan that I wouldn't like the performances. They were surprisingly talented. I was also concerned, there being no book. But I think it works. The songs are stories in themselves.
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She just wanted to be in it. I'm excited. I did the same play when I was in high school. I still remember some of the songs.
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The expectation is this low, gravelly voice for John, but I went through his early recordings and there were songs in there where the voice was so different, I wasn't even sure if it was him singing,.. So it was interesting to me that we would see him develop the Man in Black sound. I thought it was really important that his voice change as his persona slowly solidified. The music was really the doorway into the character.
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For most kids, Jewish identity is dictated by their parents. They go to Hebrew school because their parents say so. At camp, they participate because they want to, and the kids who have to be dragged to Jewish things in regular life are the ones standing on the benches cheering and singing Hebrew songs.
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The song's bangin' and it's one of my favorite songs I've ever sung. Really, it's just cool that, after so many years and all the heartache, the horror stories, the headaches and the bullsh--, I'm at such peace in my life right now, and it's pretty cool I'm on a Roadrunner record again.
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I took out these songs and realized they could still connect with an audience. And people were very touched by the material.
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I had a few artists that I really looked up to when I was starting out, like Slick Rick, KRS-One, Big Daddy Kane and others. But my all-time favorite was LL Cool J. When I heard his first songs on the radio, I stopped my car and pulled over to the side so I could really focus and hear what he was saying. He really made me want to do music full-time. Even today when I make a song, I wonder what LL would think of it.
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Obviously, Miami is a different way of life than New York. My grittier street songs are definitely influenced by New York. Just driving down the Bronx in my old neighborhood can inspire me every day. You never know what you are going to see or hear. I can't really say there is one thing that most inspires me from New York. But the city as a whole always gives me material to write about.
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Same thing with 'Long Long Way to Go'. We like to think we can tell a good song from a so-so song whether it be rock, pop, blues, rap, whatever.. Again, for no reason other than curiosity, it was sent to us and we really dug it, so we recorded it. Apparently so did Lionel Ritchie ! Let's not forget here that we DID write the other eleven songs on 'X' !
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He handed me a record out of his backpack that he'd just made in San Francisco. We played that record for the next days, months and years. It was an eye-opener. We were just beginning to write songs, and Townes set a whole new standard for how songs should be written.
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I (think) he was trying to find some hint of his childhood. He struggled with the memories. That may be why his songs were so dark: He was looking into a well.
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The hook is the sweet spot, the easily remembered melody or rhythm figure. Beatles songs are packed with hooks. A hook is similar to a riff, which is instrumental, while a hook can be played or sung.
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Music is also supposed to be fun. On this record, (titled 'III'), I really had the desire again to jump back into some good-time, fun-loving songs.
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Right after September 11, we went to England, and I was a mess,.. I was really depressed... I came home and settled down and got my head on straight. Before I knew it, I wanted to make another record and I had these songs. I remember saying, 'When did I write this?'.. I had no recollection.
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When you can play in front of 3,000 fans, it's an opportunity to pull out some of the earlier and more esoteric songs.
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We went back to the beginning of the band's career for some of these songs. We had fun knocking the dust off them but it was a little nerve-racking too, because we hadn't played some of the songs in a while. I think we've only played 'No More No More' live a total of 20 times in our entire career. We were going on muscle memory for some of these, which gave our performance an edge.
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Collins is a bald, bland Englishman who writes interchangeably uninteresting songs.
songs
Because there are such vivid stories and characters in Bruce Springsteen's music, we decided to let the lyrics do a lot of the storytelling for us, instead of depending on dialogue. In this case, I chose the songs first and then designed the story around them.
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[Ball is one of the few musical comedy artists to have distinguished himself <br/> equally as an interpreter of both Andrew Lloyd Webber and Stephen Sondheim, who would seem to be <br/> polar opposites as songwriters.] I'm very lucky that I've gotten to work with both of them,.. I was in Andrew Lloyd Webber's 50th party concert at the Albert Hall. That same year I was in <br/> a special show called Hey, Mr. Producer, a celebration of Cameron Mackintosh's work. There <br/> was a Sondheim section, and Cameron asked if I'd be part of it. I'd already recorded 'Losing My Mind' <br/> from Follies, which is one of my favorite songs of Steve's. But I hadn't yet done a particularly <br/> traditional treatment of it. Steve said he wanted me to do it absolutely straight, the way it was <br/> heard in the original show, which I was delighted about. And he worked with me on it--just him, and <br/> me, and a pianist in a tiny room, for an hour-and-a-half master class on this song. I came away knowing <br/> every nuance; why he wrote everything that he did; why every note was in its place; why the phrasing <br/> was like this--can you imagine how thrilling that was? And he is so articulate in explaining his <br/> work; you can be under no illusion why something is there. When you have that understanding, that <br/> is when his work opens up to you. Of course, they put me between Judi Dench singing 'Send in the Clowns' <br/> and Bernadette Peters doing 'Being Alive.' You try holding your own in that company!
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Music. I do songs that have appeared on the pop charts, but they're music for grownups.
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What I don't like is getting over and not having enough time to rehearse properly. Just because they know the songs it's not like playing the album.
time songs
The process depends on the situation, and I don't think there are any two songs that have gone exactly the same way.. Well, actually, that's not true.
true songs process situation
[9. The Doors.] They had the complete package: musicianship, lyrics, songs and stage presence,.. But more importantly, their music has far transcended the band (even with the cult-psycho-martyr status of Jim Morrison) and stands the test of time. No one was doing, or will ever do, what The Doors did. They were the original alternative band, and that makes them the greatest American band.
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