Hope Sandoval Quotes

Larry only ever wrote one song, and he wrote that with Tony Kaye, I think it was, from Yes.

When I'm making records, I like it to be quite fast. Don't let the band learn it too well.

Musicians get tense at big gigs. Some you can't talk to before the concert; some you can't talk to afterwards; some need the same size dressing rooms as others; others need bigger; some have comments to make on others' musicianship or how a particular song ought to be played.

I really had a great time working with 'Modest Mouse,' just because of the people. I loved writing songs with Isaac Brock, and Jeremiah Green is probably my favorite musician that I've worked with.

My first show was in front of 30,000 people with will.i.am, and I wasn't even that nervous.

I just learned my lyrics and tried not to bump into the trumpet player. That was my philosophy.

If I'm on form and I'm not being bothered too much by mental problems or whatever, I can whip out something good. That's why I've done quite a few overdubs for Tina Turner and things like that, because even before she made this comeback I said yes to her, just because I love Tina Turner.

Singing and playing live can be difficult. Like, in the studio, I would record either the music track first or the vocal first. I don't necessarily do them together.

We're always in the studio pretty much, either at home or on the road, trying to come up with new ideas and stuff.

When we arrive at the studio, we put the kettle on, have a cup of tea, say, 'How's the family? You still got that old car? Is that dog still alive?' and then we start jamming. That's how the songs get written.

[Miss] Piggy was amazing, I was nervous because I wrote our opening. I wrote the song, wrote what we were going to do. And first I was hoping that they would approve it, because they're not playing.

I think on a stage in front of thousands of people is a wildly invigorating and amazing experience, and it requires a certain skill set; then being in the studio, and being curled up in the fetal position under the piano, that requires another skill set.

I was truly honored to work with legendary DJ and producer DJ Premier. I still can't believe I have a track with Premier; it really is one of the best songs I've written in a long time.

I don't like to surprise anyone with the music I compose for a film. That way, there is less trouble later on.

The Faith No More stuff isn't about me. It was a band. Maybe that's where a lot of journalists got the wrong idea. You don't just pluck a song off a tree and put vocals on it.

I always get nervous before a gig, so I look over my writing, trying not to fantasise about all the things that could go horribly wrong.

I wrote 'Flatliner' with Dierks Bentley in mind in 2013.

When I did '3 Nights,' it was just one of those days where we'd gotten enough sleep, enough food, and we were excited.

I wrote a whole solo album and recorded some of it, even did a little tour with Sara Lee and Gail Ann Dorsey.

Any musician in any band - for a really good band - you know your part in the band.

I was lucky enough to be in the studio with Drake and Kanye before I put 'Freaky Friday' out. I showed them the video before I put it out.

When I feel it, I got it, 'cause, like, on 'Changes,' I didn't never know what that song was, never knew who it was or who did it, but Tom Brenneck asked me to do that song.

My manager, my band members, we're all good friends. You need that because a lot of times an artist will be so sheltered he will lose touch with what the fans want.

My least favorite thing about being in a band is photo shoots and video shoots. I like writing songs.

My first album after 'American Idol' I did with Desmond - we paid for it together, and we literally were together working on it every day for a year and half, just writing. We wrote in New York, Nashville, L.A., Sweden - we wrote with some other amazing songwriters like Diane Warren, too.