Quotes of All Topics . Occasions . Authors
I'm making a record that's half stripped down acoustic which is the way I perform a lot and half of it is very produced. It's really hard to keep music simple but I was trying to keep it simple and focus on one or two instruments and vocals.
I like coming up with these spectacular extravaganzas that will, hopefully, totally blow people away. But I also like the intimacy of stopping it all and sitting at the edge of the stage and connecting with individual people in the audience.
I think it's important to find someone that you really like as well as love. When the infatuation runs out, the first phase of the relationship changes. You really have to be able to say 'I like to hang out with you. Let's keep hanging out.'
I got to Nashville on Labor Day weekend in 1972. And the Grand Ole Opry is still there, the Country Music Hall of Fame is still there. And the roots of country music are still there. It's where the authenticity and the empowering force lies.
I teach songwriting a lot, and I always tell my students, 'You gotta write the little songs sometimes to get to the next big song in the chute.' You gotta write 'em to get to it. You never know what's going to be a little song or a big song.
I find London really exciting but there's a lot of vicious success here. Like New York, there's a lot of incredibly successful people who feel incredibly entitled, perhaps justifiably, but I don't want to be around viciously entitled people.
It was not very hard to do a double album. Nobody thinks it's a good idea if you're an unknown singer-songwriter. But I just kind of feel like if I want something, I can get it. That's the good side of being American, or something, you know?
I'm not into branding - I'm trying to be organic to who I am on every level. I do really connect to being a part of the working class. Those are my roots. My family [consists of] farmers from Portugal, builders, housekeepers and stonemasons.
When you have a child, you really understand what it means to love, to have something to be selfless for. I think that elevates you. It elevates your consciousnesses, your level of thinking, your art and the way you approach it - everything.
I use debit cards for everyday purchases, as I don't believe in credit cards. But this has caused problems, especially with American touring, because I refuse to have a credit card - and in America you can't pay for anything on a debit card.
I had a weird one a few years ago when I woke up one night, went to the window and saw a girl sitting on the kerb across the road just staring at me. Freaky. We get nice gifts for the kids too. And I've had naughty things. Let's say objects.
Deep within us all there is an amazing inner sanctuary of the soul, a holy place, a Divine Center, a speaking Voice. . . . Life from the Center is a life of unhurried peace and power. It is simple. It is serene. It is amazing. It is radiant.
Pain is a huge gift. It can expand you like nothing else. If you can embrace it and sink into it, you'll get to the point where you can bend and transform your experience of it. Having some sort of creative outlet to do that is another gift.
I don't know about other writers, but for myself, to write I must be relatively quiet - it's very difficult to write with the telephone and the doorbell ringing and conversation going on; I'm not that good a writer to write through all that!
I've always invested in myself, whether it was marketing or putting an album together and paying for radio. Spending eight months to a year working on one single to try to get it where you know it's a hit and you can take it into the top 20.
I don’t think there's ever been a point in my career where I've said, 'I've made it.' What does that mean, 'I've made it?' Made it to what? If you say, 'I've made it.' then are you finished? I don't want to be finished. I don't want to quit.
It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
I used to get very angry as I was getting older, because my voice was breaking. So I've trained my voice so religiously through my teenage years, because I wanted to be able to hit the notes that those females hit. And I can, which is great.
I think every artist should follow their vision; their hearts is what they need to reveal, not something that society is looking out for. That said though, I think also artists have, continuously good artists, have been good for their times.
Singing a song like 'Your Love Is Killing Me,' people are worried about me. My mother called me, like, 'What's going on with you? Are you alright? I thought you were doing fine.' And I'm like, 'I am doing fine. It's just, this is what I do.'
Beethoven was just music, and it didn't matter if he could hear it or not - he could feel it. He could hear it in his mind. He could write it down hearing it in his mind. He was just music. Yeah, he's one of my favorite writers of all times.
My parents only played Isley Brothers, Marvin Gaye. That's when New Kids came out, and we wanted to jam that. My mom was like, "Put that thing off and put my damn record on". So from old school to '90s to recent, it's just always been there.
A lot of bands have managed to borrow parts of our style for their music. That's fine with me, because we've borrowed from people like the Stones. But we don't want to sound like we're copying anyone, including ourselves, so we're moving on.
It was a long hard bumpy road, but this great country kept me inspired with its beauty, character, and spirit, driving me to keep marching on and devoted to sing about its people and places that make Canada the greatest country in the world.
It's hard to reconcile my personal beliefs with an entire institution like the Church or the Republicans. Or with people within those political persuasions who have such different ideologies but confess the same things I confess spiritually.
There's so much about Dolly Parton that every female artist should look to, whether it's reading her quotes or reading her interviews or going to one of her live shows. She's been such an amazing example to every female songwriter out there.
If I hear a conversation and somebody says something intriguing, my first thought is, Is that a song? I write all year long, and at the end of the year I pull these forty or fifty things out and say which of these things do I want to record.
The way I see it, the men that I'm with, whoever they are, it's like look, you have to accept the fact that I like ice cream, and I know it shows up on my hips but if you can't accept that, then leave. Go away, toodles. It is non-negotiable.
We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.
The most romantic thing is to look someone straight in the eyes and say and mean, “I love you”, that's a lot. It's a really hard thing because you can never be certain of yourself, but at that particular moment, you feel like that. Its magic
I gathered all the different Peel Sessions recordings together - I did six or seven of them over the years - and listened to all of them. These definitely have at least a superficial relationship to each other because they're all very spare.
Pop is a little bit theatrical. That's the whole vibe. That's the point - is that it's great music, great melodies, great hooks. But, on top of it, it's a presentation. There's a showmanship about it. And that's why I wanted to be a pop star.
When people ask me who I'd want to have dinner with, dead or alive, I always say, 'John Lennon.' I just feel that he was an artist who was, in his own way, committed to wholeness and authenticity in a not dissimilar way that I am years later.
I mean, I could go ahead and cut my head off in the guillotine, and it looks great, ... Well, now you turn on CNN and guys are really getting their heads cut off. ... As insane as our fantasy world gets, it's nowhere near as scary as reality.
You have a physical human reaction to something that another human being made. When you remove the human from it, and you chop it up, make it all perfect, you have a different reaction. Something is not there. You can feel it when it's there.
Becoming famous is a really shocking thing, especially when you don't have aspirations to it. It got to the point where I would try and avoid making eye contact with anyone. It was freaky, and it just happened overnight. I couldn't handle it.
For someone like me, music is all I've ever thought about - playing big shows, and then, when you take something that is based around your music and put it in a completely different medium, it's a really interesting and cool emotion to watch.
What I view as worship now is certainly a little different than how I used to view worship. I don't see it as a verse in a chorus, on a big screen with words, like I used to. It's just trying to be as real as possible in front of an audience.
For 'Narrow Stairs', the majority of the songs I brought in were guitar songs - songs we could sit in a room and just play. I can honestly say I had more fun and felt more inspired on this record than anything that we had done in a long time.
You feel the music needs something but you don't know what. So you start searching, fitting, measuring, trying. Every time you try another angle. And sometimes that's frustrating, especially if you don't come up with something for three days.
I know there are a lot of tough stories out there about Sinatra, but he was so sweet to Bobby and me. He even had us replace him one night in the main room. He didn't get Sammy or Dean; he said, 'I want the kids to do it.' Man, what an honor.
It's like you asked me about the depression thing: you grope towards an understanding of whatever it is your going through, and it's not personal, there are forces in play around you, and you seek to understand them and that way you can go on
When I wrote a song, it would have to be from something I was really excited about, or a melody that's been haunting me for weeks, or a message I wanted to convey lyrically. So it would have to start from something I felt very strongly about.
I'm doing good. I've had a slight nervous breakdown in the '60s. I got through that. And I got through the '70s. And I was in a doctor's program during the '80s and then I met Melinda and we've been together ever since. I've got a happy life.
A brand is a little different. Me, as Carrie the person, wanders around in sweatpants. And then, when I have to be Carrie Underwood, there is definitely a departure from your human side. It's good to make that separation from person to brand.
Our aim is to establish El Cartel as not just another tequila but part of the club and party lifestyle. There are several songs where I mention the brand name, and a lot of these party songs go hand in hand with the concept of Cartel Tequila.
They wanted to 'radiofy' what I was doing. I was also in a position where I was compromised. I was much younger and maybe it is because I am Irish but there was a guilt factor when the record company pays you a lot of money, you feel obliged.
Now everybody knows about this thing that's my secret. It was my thing, the music I turned to when I was alone and needed it. It's what helps me get through these times. It's just between me and music, and now it's been shared with the world.
I grew up listening to Patsy Cline. I was a huge Patsy Cline fan. I still am. Even though she's considered country, I think of her more as a blues singer. She's got a great blues voice, and she has such an amazing story, which I always loved.
No matter how happy or hopeful I am, I always tend to drift back to that. It's underneath all the music I've ever written... An artist is trying to tell you how he's feeling. And if that accidentally becomes entertaining, it becomes a career.