Grace VanderWaal Quotes

I mean, I can sit down with a guitar, and in fact, we do two, three songs with just guitar and percussion.

There were lots of songs that were on 'It Still Moves' that I had written, and we had played - rehearsed, but also played live a couple of times - that could've gone on 'At Dawn', but we always knew we wanted to make a record that was more quote-unquote 'rock n' roll.'

When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.

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 mainly like to do singer/songwriter kind of stuff.

I'm not just a voice who wants to sing on anything. I co-produce, I want to select who comes in and plays on what songs, who to duet with and all of it.

I was in Redwood for almost six years. It was an acoustic trio that I still think was the best band I've ever been a part of. We do have a double CD of the Redwood stuff available called 'Lost But Not Really.' I'm very proud of the old Redwood stuff.

I began both auditioning with Pearl Jam and recording for Eleven. In the fall of 1994, I joined Pearl Jam.

The songs, if I write alone in a room, end up being a little more quiet, a little more subdued. If I play with other musicians or percussive instruments, it might end up being a little more upbeat.

Big Pop songs are born of inspiration and spontaneity. The question becomes how do you create spontaneity when you're going into the studio five days a week?

When we recorded 'Iowa,' we jammed, we went through the songs, we played as a band and we recorded as a band.

I'm hoping to work on some original songs and to keep performing in front of a crowd as much as I can.

Main thing, really, is I write songs the way I wanna hear them and the way I think the people that come to our shows wanna hear them.

I didn't just sit down and write 'Summer In Kingston' from scratch; it came about from a bunch of songs I already had.

I have a great band from Jersey and New York. I say that because they got great attitude, and we have a great time on stage.

I think, now that I've been writing songs in general, whether it's for the group or for me, I definitely feel like I got a little trigger happy, because it was so exciting to have production and create and put a lot in there.

As a rock band, you're slightly one foot in the past, playing instruments like guitar, bass and drums.

I'm a fun song maker. I love to make people smile. I also love to see them big, burly dudes crying because their wives' song is 'Die a Happy Man.'

I'm constantly working on music.

I want to play guitar, piano, drums, write songs for other people. I can do punk - I can do indie - but as long as it has my voice, it'll always be my sound.

The synth helped us in that it meant you didn't have to be a traditional four-piece band and basically, you didn't have to work too hard.

Widespread Panic discovered a couple of my songs and started doin' 'em on the gigs. They'd take a song and expand it and everybody plays a long time and people really like that. But I made my living as a songwriter so I try to get to singin' and get it over with.

We do a cover of Charlie Puth's 'Attention' that I really, really love and I think really grooves.

There are no rules when it comes to songwriting, so I'd turn Carter family songs from the 1930s into pop songs.

We were playing shows still when we wrote 'Phoebe' and 'Rock All Night.' We got to test those songs in a live setting, so it was nice recording them and knowing which ones really resonated with the crowd.