Dennis DeYoung Quotes

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.

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.

After Mad Season, I started writing my own music for Pearl Jam and brought it in. 'Given To Fly' came out of that, and so did 'Faithful' - those were on 'Yield,' which came after Mad Season.

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

I got a couple on per album but my problem was that I wanted to sing the songs and not let Roger sing them.

I write my music.

I was trying to do the same thing that I always do which is make an interesting record.

I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.

Songs are not on a conveyor belt. I'm not chopping them up and putting them out.

It's very hard to write a song alone. It's only by jamming that you can get a song together.

Even though we didn't actually record it as the Move I had already written a song called 'Dear Elaine', which I subsequently put on the Boulders album. I thought at the time that was probably the best song I'd written.

When After Forever stopped, I didn't want to first find a band, then see if I could write with them, figure that whole thing out, then record an album. Instead, I worked with people I knew would be good songwriters out of an idea how I thought it would sound like.

I think it's down to our songs - we've always made sure every song on every album works.

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 did my solo album, I put on a song that I'd planned for Toto that never made an album constructed from a great drum track with Jeff and a bass track with Mike and the guys loved it.

I never have a clear goal or a theme when it comes to writing an album.

I tend to have a lot of songs ready for each record I do anyway. I always have. I was thinking, the more you write, the better chance you're going to come up with a collection of stuff that is going to work together.

Jeff always had a huge part in making a song a record. You felt like you were capturing lightning in the studio. It was never boring. He always was there to serve the song.

When I did 'Hand Cannot Erase,' I didn't have a specific singer in mind.

Because I write the music, I write the lyrics, I write the vocal melody lines - I write everything. Just because I let somebody sing something doesn't mean they're more important than the bass player or the keyboard player or the drummer.

Here's the way Static-X has always worked: I write all the songs by myself - totally and completely by myself - I give demos to the other guys, and then they add their parts to it, and then we argue about stuff and compromise and it turns out being Static-X.

A lot of times, I played bass on songs. Gene plays guitar on some songs.

I think a lot of the Mothers stuff that we recorded was written while we were on the road.

I think that the process of making music is a hard one to describe as well.

A Cat Stevens record isn't just Cat Stevens' ideas. It's Cat Stevens and all the musicians who play with Cat Stevens, right?