Jeff Hanneman Quotes

But mostly, I wrote songs and Viv wrote songs.

When we write, we complement each other. We wrote six songs, Barry and I, while Robin was ill during the American tour, and they were terrible until Robin came back, and then everything worked out.

When you're writing with an artist or for an artist, you have to help them serve their vision. That's the cool part about writing songs. There are no rules.

Writing songs has always been hard and easy. It's not always easy when you want it to be, and then sometimes it's just like turning on the faucet. That's just the nature of it.

I've always thought of music as something which gives the words their flight and their wings and the music often comes first, although sometimes I'll have a concept, a title idea, a lyric idea that I want to write and the lyric will come first.

I tend to start with a full set of lyrics, and then my producer, Joel Little, and I work on the music collaboratively.

I can't legislate a song into being; it just will not happen for me.

It's different for every song. But for 'Say Something,' I think it was Chad who had an idea on guitar, and I had an idea on piano for different songs, and we just married them together. We bounce things off each other constantly and kind of massage all these ideas into a three and a half minute pop song.

I tend to write at the piano, but usually the melody and lyrics come first. Like, I'll be in the shower, and I'll start singing, and the melody and the lyric will just come out. Then I'll quickly try to finish the shower, try to remember it, record it on my phone and save it for the studio.

I had no idea what those cords were in the bridge of 'Prisoner In Disguise' when I wrote them. I had to go over to Don Gorman, the piano player, and ask what in the world I was playing.

I always try to write a song, I never just want to write a record.

That was when Neil discovered Jack Nietzsche. They went off and pretty much came up with that by themselves, but I thought it was a great song, and I was more than happy to do my harmony parts on it.

We all write the music, and then Mark and Tom write the lyrics.

I could tell it was a popular move as a writer to walk down the bass lines while you were writing a song.

There are some songs where I'll have had the music for 20 years and then finally the lyric will come through. That's not common but it does happen. Then there are other songs that come really quickly.

Usually when I write a song, I'll write the music and then kind of fit some words to it.

Every song you write you think is the last one you're going to manage. You put everything you've got into the song, and you've twisted it and pulled at it and dug in and found a way to complete it. To get another one is the trick.

The goal is always just to write the best song that you can write. I mean, the process for writing a song is the process for writing a song. It's not something I look at it as something I need to do something different.

Sometimes I'll come up with a lick that I really love, and I'll try to put the right words to it for years. Suddenly something comes to me that works just right.

I wasn't writing the music. Ed would write a piece of music. I'd listen to it and come up with a melody and then we would arrange it. We'd put it together and I would write lyrics to my melodies.

I always start with the music and then try to figure out what I want to write about lyrically.

Most of the time, songs that I write end up being finished in 30 minutes or less.

'Chandelier' took, like, four minutes to write the chords, then, like, 12-15 minutes to write the lyrics. Probably 10 or 15 minutes to cut the vocals.

When I'm in a songwriting phase, it's a phase. I don't just suddenly feel inspired and then write a song, because I always write with a co-writer.

I did co-write 'Moment of Forever' with Danny Timms. He wrote the melody, and I just did the words.