Hyuna Quotes

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.

For me, making music just starts with a simple melody, and lyrics will come sometime after that.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

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.

'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.

Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.

I don't really focus on if what I'm writing is pop or not. I just write music and then I try to figure out how to arrange the things that I write.

The best songwriting comes from being as creative as you can and editing it down to the good bits, essentially.

I've composed a fair amount in my life, and some of them have made it on to the screen, some compositions that I've done, a few. And I like doing that. I had never really considered doing a full-length thing. I've worked with other people creating full-length pieces.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

I have yet to have a successful outcome of sitting in a room with someone and trying to write a song. The way that I generally co-write is that someone else writes the music or part of the music.

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

I wouldn't go into the studio if I didn't have a band who's ready, willing, and able.

However long the song is was how long it took us to write it.

I really like the thing I did with Martina McBride. I had that song sitting around for a long time.

It seems when I put together records, as Henley used to say, they're just like movies. They should have action, tension, love scenes, places to relax.

When I'm doing interviews, I'm doing interviews, and when I am writing, I'm writing. I sit there with a musician and I write. It's the same process since I started writing in my twenties. I like to come in and leave with a finished song.

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.

I'd love to write a song that someone else sings that can actually sing really well.

I create the music, and if this artist could complement this record, I reach out.

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.

When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.

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 you're thinking about making a hit song, and you think I want everybody in the world to love it, then you kind of make it up, and you do it.

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