Luke Bryan Quotes

I tend to start with a full set of lyrics, and then my producer, Joel Little, and I work on the music collaboratively.

No, my son's a songwriter and he does that.

That's the cool thing, when I get to work with people I love. The biggest has probably been Kris Kristofferson on 'Bloodworth.'

I have been with the record company and Tommy was there doing records with other people.

I'm not a hustler. I don't pitch songs. I don't ask people to write with me. It's not what I do.

You get a letter from her agency embracing you into the family that says, 'It is our goal now to help you achieve your dream of being a songwriter, in John's memory.'

A big part of the Motown formula was, they took music and turned it into this sort of automotive assembly line. They were cranking out 10 songs a day in that studio, or more.

There's never been a song that I just wrote and tried to send to an artist.

You know, I get a lot of people pitching songs to me.

Someone told me there was a publisher that could find a good home for my songs, but I didn't want to give up my pursuit of a career in the business as an artist.

Growing up as a singer, and a cast member, and now as an adult, a songwriter, I get the luxury of choosing the kinds of songs that I want to sing, because I'll write, you know, hundreds of songs. Even though only 12 appear on the album. That's 12 that I've chosen to sing of my catalog.

Capitol Records were very keen for me to write and see how I got on; I think that is what defined my sound. The first session I had was with two young up-and-coming writers, Nick Atkinson and Tom Wilding, and I went into a session a bit nervous because I hadn't written that many songs before.

My producer, Michael Knox, he's kind of my eyes and ears on Music Row. While I'm out on the road, he's looking for songs, and then he and I will get together and go over songs.

I think somewhere along the way I realized, 'O.K., no one's gonna care about a chubby Jewish dude rapping.' I realized I'd be better behind the scenes.

I don't wanna get into that space where a lot of guys now, their solo album is like eight or 10 songs with other people, you don't get an idea of who this guy is. I just wasn't interested in that.

I will not promote other people's songs big time. I will just mention that I produced the song to get the credit I think I deserve.

Actually I was writing with people that didn't get records.

Either you write songs or you don't. And if you do write songs like I do, I think there's a natural desire to want to make records.

I ended up writing songs and growing up in public with my songwriting. And it's a good thing for me back then: in the early '70s, there was a thing called artist development, where an artist could find his feet, find himself, find his voice. I think I made five or six albums before I sold five or six albums.

I had my whole life to write a bunch of crappy songs and then play them in front of people and think, 'All right, that one out of these seven is really good; it's a keeper.' But on this second album, to be honest, I probably wrote about 50 songs where I was just trying to write a hit.

I really want people to know I'm a songwriter.

I always wanted to be a songwriter, and it took a while.

I moved to Nashville to be a songwriter. I found out that was a job, that someone would pay you to sit in a room with a guitar and make up songs! It is the greatest job in the world. I wrote three or four songs a day. That's what I lived for.

Everybody used to be busy writing songs - great songs - that became hits. Now everybody's writing hits. Everybody's desperately writing a hit because they know they can't survive if they don't have a hit. Where in the past, we were writing a song like 'More Than Words' on a porch, not really believing it was gonna be a hit.

To me, I don't care if I co-write or if I write alone. If it's a great song and it makes it to the record, then that's what is supposed to come, you know what I mean.