Redfoo Quotes

Mike Campbell and Don Henley and I wrote 'The Heart of the Matter,' which was a huge hit for Don.

We love great melodies and great songs that have great hooks and melodies, so we start a little bit more on that side as opposed to other people that start more lyric-based. Sometimes we'll do it the other way.

I feel like a hit will come whenever it does, but I don't want to sit in a studio trying to figure out the magic formula and mixing spices and trying to come up with the perfect song.

'MMMBop' took about a year to actually get completed. The chorus idea had really been around for a long time, and then we built the song around it.

I'm trying to write songs to appeal to everybody.

I don't want to focus too much on trying to write a song for radio.

It doesn't take long to make catchy songs. That's not my problem.

I'm not really into the whole lyrics thing; I just like to make music that people like to listen to.

Songs used to be short, then they became longer, and now they're getting shorter. But otherwise, music is about a beat and a message. If the beat gets to the audience, and the message touches them, you've got a hit.

The actual writing of a song usually comes in the form of a realisation. I can't contrive a song.

I follow a simple formula when I compose. I ask myself, 'What would the audience want to hear?' and 'Why would they buy my CDs?' And the process of answering these questions through music follows. Sometimes, it works. Sometimes, it backfires.

I really wish I knew what I was doing because I'd be writing hit songs every minute.

I've never written a song that I thought was a hit.

The most miraculous process is watching a song go from a tiny idea in the middle of the night to something that 55,000 people are singing back to you.

Sometimes it's really quick, and sometimes it's really long. There's no formula for writing songs.

I have to write pretty songs; that's what gets them on the charts.

The original 'Don't Let It Get to You' started with a beat. The drums came first. All the musical and lyrical elements were written over those drums.

Putting together a hit record is like putting together a puzzle.

Once I've got something that I feel is strong, if I get long enough to think about it, it'll turn into something. I'll start thinking about the drums - what the drums are doing, what the bass is doing. Then, if I can remember it by the time I get to a recording device, it'll turn into a song.

If I don't feel it when I'm sitting there, if it doesn't give me the feeling I got when I heard 'Pony' or 'So Anxious' or 'In Those Jeans,' I scrap it.

On a good night, I probably make three songs, and none of them are full songs.

When it comes to song creation, I throw in my ideas and have it discussed with the producer. The song gets its own characteristic as new ideas are incorporated.

When you finish a song, your first thought is going to be, 'Is this song a hit?' I hate that we think that way, because it kind of takes a little bit of the meaning out of the songs that are being written, but you're definitely going to think, 'Can this song be put on the radio?'

I love to work with producers who are very good with their chord progressions.

I'd say 99 per cent of the time I write on my own, just with my guitar, and then it's trying to figure out what it needs in a production sense.