Chris LeDoux Quotes

I actually had a week where I literally wrote four songs and all of them are on my album. But sometimes you'll go a week where you'll write songs and they never see the light of day. So that process takes a long time.

I wouldn't just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.

For me to create an album of 12 songs, I've got to write about 80 songs. Half of those are totally weird and rubbish. But I get to some really good stuff after a while.

All my writing takes place during the recording of the master tapes. I never do have songs when I start up an album. I actually write them while I record.

I like to separate the music- and lyric-writing processes if I can. I'll sort of noodle around on my keyboard and my computer until I have a beat or a chord progression, I'll record it as a loop, export it to iTunes, then walk around with the loop and sort of talk to myself in the loop, and that's how I get the lyrics.

I don't write all my stuff. Everybody always thinks that. But in just about every album I've ever had has been about 50-50 songs I've written or co-written and other people's songs.

It's not the case of turning in a bunch of songs and recording the next month. I think you're looking for songs all year long and you're writing all year long.

All the signs were right. And when I mean all the sings were right, the only signs that we care about when we start a project of making a record is, do we have the songs - it's that simple.

You know, when you're making a record, you come up with 15, 20 songs. Then they start to fall by the wayside as your interest wanes. It's kind of like a process of elimination to determine which songs wind up on the record.

When I was recording my first solo album 'Imaginaryland,' I was listening to a lot of movie scores.

We just wrote songs that seemed good to us. We wrote the album in like two weeks. We could have had more time, but we accomplished what we needed to in the two weeks.

For 'Dynamite,' Max and Luke went to dinner and left me with a melody, and then I put it together.

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

Everything I did on the 'Paid in Full' album and those first three albums, I wrote everything right in the studio.

We've been having a great time writing for other artists in and amongst making our Bastille albums and mixtapes.

When I'm recording, I usually just mumble and hum a melody and then fill the words in as I go.

I write a lot of my music, but not all of it. I have always subscribed to the 'best song wins' theory when making an album.

There are times pop music is the end result when I'm in the studio, but I don't really go in and say, 'Today I am going to make a pop song,' but it can happen.

For every album we worked on, I brought in reels of tape of somewhere between fourteen and eighteen songs - some of them completed, with lyrics and melodies, some of them basic tracks. Things came out of those products. Like, for 'Hotel California', I think I had a reel with sixteen songs on it.

Our album stuff, we bring it to our producer to help us finesse. But anything that's been on YouTube and a lot of the stuff that's been on the album, too, it started from us just sitting around in a circle and jamming it and finding where the parts fit.

The way I write music for other artists is the same way I write music for myself. I'll pick up the guitar, and I'll write music, and if I don't use it, I have, like, 500 other songs. If I don't use it, I give it away.

We travel so much as touring musicians and artists that sometimes, when you hear a great song that you really think could be on your project, you go ahead and record it instead of try to write it.

I write most of my own lyrics for my album and I am helping to produce some of the songs as well.

It would be fun to write with Adele, actually. She seems like a fun girl to write with.

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