Action Bronson Quotes

One day I'll wake up and I'll have 10 or 12 songs and think, 'Oh that sounds like it could be a record.'

I'll hear a beat and think, 'How can I make this a banger?' I'll write the lyrics on my phone or on a piece of paper, and either way, it's going to be a slapper.

Sometimes, I make 50 songs and pick out the best 10. I've been in the studio all day, all night, making the beat, writing the raps. You never know what's gonna be a hit.

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.

I usually write lyrics first, and then when I get home or close to any kind of instrument, I usually make a melody for those lyrics.

I usually write to the beat. Really, the beat can make the song itself.

I'd say writing songs is, for me, as much playing the tape recorder as it is playing guitar or writing words.

I'm always making beats, and when I can hear Ezra singing on one of them in my head, I send it to him. That's one of the ways that we've always worked together.

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.

There's a lot of craft that goes into achieving a hit song - at the beginning of your career, you're usually more inspiration than craft, and you get great when those intersect. A skilled songwriter can get you to that intersection.

I write my music.

I can write hundreds of songs on simple power chords.

A lot of the songs I've recorded are songs I write.

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.

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 don't really think about what the subject of my next album will be. I just know that I'm going to make another album.

They're mostly done before we went into the studio, although I do like writing in the studio.

Today, it's very tempting to create songs by cutting and pasting in the studio.

I just sat down and thought, I'm going to write a song today, I'm going to give it a try. So I just stuck it on a tape like everything else. That was just another song.

I walk away from writing what I consider to be a good song - with a good character, a good story in it - with all I'm gonna really get out of that song. My greatest pleasure is to create it, not to record it, not to hear anyone else play it, though that can be nice too.

I've never written a song that I thought was a hit.

I started writing rhymes first and then put it to the music. I figured out I could lock it to the beat better if I heard the music first. I like to get a lot of tracks, put the track up and let the music talk to me about what it's about.

When making the first album, I think I wrote a song about every six months. The first album was so much about the vocals carrying it.

Usually I start with a beat, I start making a beat, and my producer side is making the beat. And on a good day, my rapper side will jump in and start the writing process - maybe come up with a hook or start a verse. Sometimes it just happens like that. A song like 'Lights Please' happens like that.

'Chandelier' took, like, four minutes to write the chords, then, like, 12-15 minutes to write the lyrics. Probably 10 or 15 minutes to cut the vocals.