Mood Music Quotes

I like to write sad songs. They're much easier to write and you get a lot more emotion into them. But people don't want to hear them as much. And radio definitely doesn't; they want that positive, uptempo thing.

In the course of my life, I've made some happy songs but it's the more sort of like pathos-laden, emotional, melancholic music that either I make or that other people make that really resonates with me.

When I wrote 'Marvin Gaye,' my whole intention was to make a record that people would put on a record player... and just instantly make out with each other.

It's like different moods, so whenever you in one mood, I got a song for that. And then you in a down or other type of mood where you really just wanna chill, I got that type of music, too.

I don't like party music. I like emotional music.

When I'm in the car sometimes it's like, 'Yeah, man, just put on the pop music.' You know what I mean? I don't want to listen to Tom Waits.

I remember when I was about 15 and still listened to Pet Shop Boys and Chas And Dave, some lad at school lent me a Blur tape, and it had on it a song called 'Bank Holiday.' I said, 'What's this? I liked that tape, but that one song is a bit fast'. He said, 'Yeah, it's punk. It depends what mood you're in.' And then something sort of clicked in me.

If I make a song where I'm happy, I sound completely mad - I think my voice is better-suited for sadder songs.

I always have music. I love it to be very upbeat. When you're having drinks, I like something like Cesaria Evora. During dinner, I like the much more traditional - old Frank Sinatra and things like that.

'Lucky Day' is what I would call the Shaggy roller-coaster ride. It takes you to different moods. I listen to music in moods.

Half the time I feel like I'm appealing to the downer freaks out there. We start to play one downer record after another until I begin to get down myself. Give me something from 1960 or something; let me get up again. The music of today is for downer freaks, and I'm an upper.

I'm not a big disco guy. Some of that English techno-poppy stuff wouldn't get me in the mood either.

Music is great; it all depends on what mood you're in, what you want to listen to. If it's party time, you listen to, you know, party music, if you want to dance with somebody. But then again, if it's a slow dance, you need something slow.

For me, comic scores always have to have some melancholy in the background.

Certain songs are almost like folk songs, which I love. I love folk music, and if you listen to 'Live Bullet,' there's 'Jody Girl,' which is almost a folk song, and I've always loved folk music. Quiet music, I don't try to do that with - I try to set a mood. But most of the stuff I do enjoy recording is up-tempo, and yes, I try to recreate that.

I want to make theme-setting music, music that sets a theme without being cliche.

I like music that expresses what I think.

I just like music that I can relate to, something to listen to in my car.

Certain emotions just take you to the notes - being furious, heroic, sad, erotic, when rain comes.

You get into an elevator and there's music playing. You hear it, but you're not into it. That is passive.

Ambient music must be as ignorable as it is interesting.

A lot of Ennio Morricone's music is just - it's very soulful, very cinematic, and very psychedelic.

When I first started writing, I wrote really sad, emotional songs which were all slow.

I want to do a darker, pop soul kind of feel.

A huge part of my writing process is listening to music as I write, almost creating an unofficial soundtrack to the film I'm working on, a sort of playlist. But the specific songs change rapidly as I write.