Kelly Price Quotes

"Diamonds & Rust" started off as another song. Then the words started to morph. When you write a song that deep, the words come from some place else. But when the songs stop coming, it would be so contrived to try and force it. Since then I've just been doing other people's music.

Sometimes it could be just during the day, when I'm riding in the car or on the plane. I'll hear somebody say something that strikes a chord and I write it down and write bars at a time, and then when I'm in the studio I go to those bars and I'm like, "Maybe I should make a song about this."

I'm not one of these people who sits down and writes to say I'm gonna write a song about this or that, or a specific subject. The songs actually kind of write themselves.

I spent a fair amount of time editing the lyrics and allowing the song to kind of evolve. ... anytime there's anything worthwhile, it certainly 'feels' like it happened on the spur of the moment, but it's a composite of lots of spurs of the moment, hopefully. And over time, you catch up with those, and then you have a full set of lyrics you've thought of and you feel comfortable singing.

The main thing you worry about is just coming up with songs at all. I don't sit down and write stuff like certain writers do. They think about what they are going to write first and then they write it. I just get what comes in at me. It's like I'm a musician and if I can keep my mitt on, I can catch the balls that come at me.

When I write a song today, basically it goes on the stage tomorrow. That's the way it works. You cannont interrupt your consciousness; it all comes from the subconscious, it can happen anywhere. It could be in a telephone booth.

I think the way I write is kind of naturally rhythmic. If there's anything of my own in my writing, I think that's my own thing. Like when I start a song, I almost hear the rhythm more than the melody.

I write a little something every day, even though I don't write a song [every day]. Everything inspires me. I'll come up with a line, or somebody will say something that will trigger something.

Sometimes you do know where the ideas are coming from and sometimes you don't. You might get a song coming through that you just don't know about.

I don't find the songs; they find me. I just strum my guitar and wait for a lyric to come.

I don't sit down to write a song; they just come to me from something that somebody says, or something in the news. The punchline comes to me, and I go over it in my head and get the song form. I hadn't been doing that a lot.

Sometimes a song can take up to a year to write, and because I waited that year and waited to work on it that day, it came up that extra 50 percent.

I write songs in batches and then record them and then can't write again for ages. I try and build one song upon another, they may not obviously look inter-related but often one song acts as a springboard into another.

Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.

The first splurge of creativity is kind of free, and the last 30 percent is painstakingly hard work, but it's good to light a fire and make it public and create that expectation. It's become part of the writing process, really, a way to ask the audience what they think, how they think it's going. I can't write songs in a vacuum.

All of a sudden there's a song - there in your hotel room playing your guitar - and you write it, and two or three years later it will come true. It keeps you on your toes.

Our whole intention was to make a record of songs that we grew up with and change them up a little bit, but we kind of stumbled on writing "Joseph's Lullaby." The irony is when I originally wrote the song, it was called "Mary's Lullaby." I wrote it from Mary's standpoint and it was in a higher key, a real falsetto, and it just wasn't right. One day, the producer's wife said, "Well, it's kind of odd that you're singing from Mary's perspective, being the guy. Why don't you do Joseph?

If I'm not writing about myself, then I sit down with people I really dig writing with and throw 'em out and see if something sticks. Their brain plus mine hopefully will make something interesting and cool and it will just snowball and we'll have a unique song by the end of it.

None of my songs are written 'about' someone or something, they all just sort of tumble out unannounced, like the worst kind of house guest.

I always look at my favourite photographs or favourite movies by James Bidgood or Sofia Coppola before I write my songs - they put me in the right frame of mind.

The writing of You've Got a Friend was one of the most incredible experiences because it was mostly inspiration. It just came to me almost as we hear it.

A song doesn't just come on. I've always had to tease it out, squeeze it out. 'No thesaurus can give you those words, no rhyming dictionary. They must happen out of you.

It's rather mystifying when you think about writing songs - where they come from, and how they're born.

A phrase may come to me as I am walking, and, once I write it down in my journal, the rest of the poem will unravel from that catalyst.

During those times like in my early years as a writer I could actually write a song in ten minutes because all of a sudden a song is writing itself, I'm just putting down words. It just seem each line that you put down flows with the other ones. It's like writing a love letter you don't think about it, it's something from the heart.