Chelsea Lankes Quotes

It's a great honor when somebody takes your song and does something different with it. That's what music is all about: to constantly change what somebody else has done.

I always feel that if you're going to cover a song, you should make it your own and flip it on its head.

Every time I do a cover, I completely... pick apart - I take apart the entire song and really reconstruct it. I try and make it my own.

It's like, whenever I do any kind of cover, if it's a jazz piece or pop cover, I want to honor the original and make sure that the bulk and the juice of what makes that so great is there, but take it to a different place.

The 'Voice Kids U.K.' songs were chosen for me, and I had to try and make them mine.

If a song feels good to me, it's not very difficult to make it my own.

I'm always proud and pleased when people do my songs. It gives me pleasure that they even attempt them, because a lot of my songs aren't that doable.

I am fine with 'Puppy Love.' I hated it for a while. But I still sing it. I have a country version, a sexy version and a cheesy nightclub version. I am trying to infuse it with maturity. I will never escape that song. I will always be Mr. 'Puppy Love.'

In a way, the highest praise you could give to a composer like Bach was to take and make your own arrangement; it was sort of an homage to that composer and to his work, so it wasn't considered sacrilegious to do something like that.

I want to be the kind of artist who keeps pushing on every album. I don't want to settle on a sound.

I can think of only two or three songs out of hundreds I've recorded that I performed as originally written. I like to become intimate with the material and change it to suit me.

I think if you're going to cover a song, you should definitely take it apart and put it back together as if you wrote it. I don't think you should sing it the same way that the artist sang it - that's kind of pointless.

Colin Blunstone did a cover of one of my songs, and the reason I liked it was he changed it completely from my version.

I try to take whatever I can from the songs I grew up listening to, these vibed-out pop numbers, and make them my own in some weird way.

I love rearranging and reimagining tunes, so I want my audience to enjoy hearing songs in a new way and make their own discoveries.

What I do is creative. It doesn't seem like that when I'm playing a piece that was written in the past, but the score is just the outline and everything in it is relative. The key is to make this piece written by someone else belong to you and then connect to the audience.

When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.

I really want to do a cover of Joan Armatrading.

Some specialist guitar music is not of the highest intellectual calibre, so I must make it sound as though it is. If it bores me, it certainly won't please an audience.

Motley Crue recorded 'Tonight' and it's great fun to hear other people do my stuff. The only problem with it is it's so damn hard to play.

I try to take the foundations of what music is and add some type of twist to it.

It's just so obscure to take a folk song in a different language and be a pretty well-respected English-speaking rock band and totally take a song and twist it around and have fun with it.

You don't necessarily have to write a song to make it your own. After all, Elvis never wrote a song in his life.

The Ramones couldn't play in my key. They couldn't switch keys, so Ed Stasium literally had to play all the instruments for my version of "Rock 'N' Roll High School," and I always thought that was so weird, because it's not the Ramones playing. It's the producer, who happened to just be a musician and could play everything.

Composing was more difficult than writing things down.