"Maybe you shouldn't judge people before you get to know them"
Лениво было читать, но тут что-то открыла и втянулась : )) Ничего так, забавненько. Кое-какие песни хочу выложить.
Good Time
"I wrote this as a really beautiful piano song, but I never wanted it to be on piano.
I always had it in my head that it was this Isaac Hayes kind of song, like a Counting Crows version of something from Hot Buttered Soul.
This song was really difficult for us. I could play it for everyone, then I had to say, 'It sounds nothing like this. This isn't the song. This is just the music for the song.' We tried so many permutations to get it that way, starting with ditching the piano, before we worked out the rhythm section part, which is basically a funk/soul, early Seventies thing."
"It's about the difficulty with just feeling okay, and how hard it is to cross the gulf from one person to another, just so you could feel good. It seems like the simplest thing, but it's so hard to get across that hole between people. I use the words 'Good Time' because it seems more poignant to fall short of such a simple thing."
If I Could Give All My Love ( Richard Manuel is Dead )
"This song is about someone thinking about his life passing him by … well, it's about me thinking about my life passing me by. I was looking back on this relationship of mine that was gone.
A long time ago I was coming home from being out all night, drinking with this girl and some friends. Me and the girl came back to my house; this was when I lived in Berkeley. It was about 6:30 in the morning, so the paper was there. I went inside and looked through it before crashing, and it said that Richard Manuel [of the Band] had died; he hung himself in a hotel room in Florida. I just sat there at seven in the morning, still pretty wasted, thinking how impermanent things were. I remember thinking that you just can't let things slip by you, because one day they're gone. The girls that you can't get your act together for, they go off and marry other people. People die. Life is not sitting around, waiting for you."
You start this reflective song with a catchy, upbeat guitar lick.
That's about just aching to let it out. Each chorus starts off with that line: 'If I could give all my love to you ...' It's not until the second line that he adds this caveat: "… but I can't."
Goodnight L.A.
"It's about insomnia and loneliness. I had this really bad period of insomnia while we were making this record, where it was almost physically dangerous. I started not sleeping for three or four days at a time, and then passing out for eight hours, and then being up for a couple more days. You start to go crazy after a while, it was sort of nightmarish, but sort of beautiful too. Life becomes very hallucinatory without sleep and I think the song plays into that. The mind wanders before settling upon the one focused thought in the song."
I was really into honing that perfect turn of phrase in this song. To me, it seems like you could just pour details into something, and the feeling comes out, so I don't always encapsulate things into a specific phrase. But on this song, for once, I really accomplished that: ' What brings me down is love, because I never get enough.'"
Butterfly In Reverse
"That's a line from one of Ryan Adams' million song fragments. I just started to write this song about my friend Mary-Louis and how great she was. I had the chorus, the 'Marianne' part. I had the music for the verses. Charlie [Gillingham] helped me out and wrote the music for the bridge. I couldn't figure out how to get into the bridge, and I couldn't figure out how to get out of the song.
So one day Ryan came over to the studio. We're hanging out, and I started playing part of it to him and singing it to him. He loved it, and he came up with the music we were missing. Then I said, 'You know, I'm still stuck for lyrics.' I played him the chorus. I had the first line of the first verse, which was, 'Had a lot of girlfriends, I should have known then.' Ryan goes immediately, 'Omigod, it's a great line!' 'What?' 'Had a lot of girlfriends, I should have known them.' I pointed out that I hadn't said that. He pointed out that what I had said didn't make any sense. The whole song took about 15 minutes after that.
It ends up being a song about whatever Ryan and I were thinking at that moment, but it started as a song about my friend, so I always think of it that way."
Who came up with the title?
"I did sort of, even though it's his lyric. He said there were two lines that he'd had forever: 'click your heels and count to ten,' and 'butterfly in reverse again.' It started out with him going, 'click your heels and count back from three.' I said, 'You should have known that the butterfly in reverse is me!' And he's like, 'Yes! I finally got it into a song!'
Black and Blue
"'Black and Blue' is about the fragility of people. It's not necessarily about the girl doing all these things to herself as much as about her imagining doing all these things to herself. I didn't want to write a big song about suicide or anything; it's really a song about being so sad that you sit around and think about suicide, which I think people do all the time. That's why it says, in the last verse, 'tell yourself, or we’ll read a note that says, "I'm sorry everyone. I'm tired of feeling nothing. Goodbye."'
It's about her imagining everybody reading the note. It's about her thinking about all these things she'd do to herself, and it's also him thinking about it. It seemed to me that thinking about it was much smaller and much sadder than actually dong it.
Who is this song really about?
" I couldn't tell, when I was writing the song, whether I was talking about … me … or this girl."
Holiday in Spain
"It's just about a guy who's really hung over. He's tired, but it's like, don't feel bad; it looks like a nice day. It's a beautifully earthy song, because there's shit all over the house. There's not much left in the fridge except for a banana. They can clean it up, or they can get the hell out of town."
The lyrics juxtapose the grit in life against something more elusive. "I was sitting around, flipping through my songbooks, looking for lyrics to cover songs, when I found the lyrics to 'Holiday in Spain.' I had written them about a month before; they were all mixed up, out of order. I had forgotten to record the music or write down the chord pattern, so I didn't have any idea how the song went. I was exhausted, but I started playing this really pretty chord progression, and I started singing that melody with those lyrics. And this song, which had been a dumb song about going out and drinking, turned into this really sad, beautiful song about having a hangover. All of a sudden, it made total sense."
Good Time
"I wrote this as a really beautiful piano song, but I never wanted it to be on piano.
I always had it in my head that it was this Isaac Hayes kind of song, like a Counting Crows version of something from Hot Buttered Soul.
This song was really difficult for us. I could play it for everyone, then I had to say, 'It sounds nothing like this. This isn't the song. This is just the music for the song.' We tried so many permutations to get it that way, starting with ditching the piano, before we worked out the rhythm section part, which is basically a funk/soul, early Seventies thing."
"It's about the difficulty with just feeling okay, and how hard it is to cross the gulf from one person to another, just so you could feel good. It seems like the simplest thing, but it's so hard to get across that hole between people. I use the words 'Good Time' because it seems more poignant to fall short of such a simple thing."
If I Could Give All My Love ( Richard Manuel is Dead )
"This song is about someone thinking about his life passing him by … well, it's about me thinking about my life passing me by. I was looking back on this relationship of mine that was gone.
A long time ago I was coming home from being out all night, drinking with this girl and some friends. Me and the girl came back to my house; this was when I lived in Berkeley. It was about 6:30 in the morning, so the paper was there. I went inside and looked through it before crashing, and it said that Richard Manuel [of the Band] had died; he hung himself in a hotel room in Florida. I just sat there at seven in the morning, still pretty wasted, thinking how impermanent things were. I remember thinking that you just can't let things slip by you, because one day they're gone. The girls that you can't get your act together for, they go off and marry other people. People die. Life is not sitting around, waiting for you."
You start this reflective song with a catchy, upbeat guitar lick.
That's about just aching to let it out. Each chorus starts off with that line: 'If I could give all my love to you ...' It's not until the second line that he adds this caveat: "… but I can't."
Goodnight L.A.
"It's about insomnia and loneliness. I had this really bad period of insomnia while we were making this record, where it was almost physically dangerous. I started not sleeping for three or four days at a time, and then passing out for eight hours, and then being up for a couple more days. You start to go crazy after a while, it was sort of nightmarish, but sort of beautiful too. Life becomes very hallucinatory without sleep and I think the song plays into that. The mind wanders before settling upon the one focused thought in the song."
I was really into honing that perfect turn of phrase in this song. To me, it seems like you could just pour details into something, and the feeling comes out, so I don't always encapsulate things into a specific phrase. But on this song, for once, I really accomplished that: ' What brings me down is love, because I never get enough.'"
Butterfly In Reverse
"That's a line from one of Ryan Adams' million song fragments. I just started to write this song about my friend Mary-Louis and how great she was. I had the chorus, the 'Marianne' part. I had the music for the verses. Charlie [Gillingham] helped me out and wrote the music for the bridge. I couldn't figure out how to get into the bridge, and I couldn't figure out how to get out of the song.
So one day Ryan came over to the studio. We're hanging out, and I started playing part of it to him and singing it to him. He loved it, and he came up with the music we were missing. Then I said, 'You know, I'm still stuck for lyrics.' I played him the chorus. I had the first line of the first verse, which was, 'Had a lot of girlfriends, I should have known then.' Ryan goes immediately, 'Omigod, it's a great line!' 'What?' 'Had a lot of girlfriends, I should have known them.' I pointed out that I hadn't said that. He pointed out that what I had said didn't make any sense. The whole song took about 15 minutes after that.
It ends up being a song about whatever Ryan and I were thinking at that moment, but it started as a song about my friend, so I always think of it that way."
Who came up with the title?
"I did sort of, even though it's his lyric. He said there were two lines that he'd had forever: 'click your heels and count to ten,' and 'butterfly in reverse again.' It started out with him going, 'click your heels and count back from three.' I said, 'You should have known that the butterfly in reverse is me!' And he's like, 'Yes! I finally got it into a song!'
Black and Blue
"'Black and Blue' is about the fragility of people. It's not necessarily about the girl doing all these things to herself as much as about her imagining doing all these things to herself. I didn't want to write a big song about suicide or anything; it's really a song about being so sad that you sit around and think about suicide, which I think people do all the time. That's why it says, in the last verse, 'tell yourself, or we’ll read a note that says, "I'm sorry everyone. I'm tired of feeling nothing. Goodbye."'
It's about her imagining everybody reading the note. It's about her thinking about all these things she'd do to herself, and it's also him thinking about it. It seemed to me that thinking about it was much smaller and much sadder than actually dong it.
Who is this song really about?
" I couldn't tell, when I was writing the song, whether I was talking about … me … or this girl."
Holiday in Spain
"It's just about a guy who's really hung over. He's tired, but it's like, don't feel bad; it looks like a nice day. It's a beautifully earthy song, because there's shit all over the house. There's not much left in the fridge except for a banana. They can clean it up, or they can get the hell out of town."
The lyrics juxtapose the grit in life against something more elusive. "I was sitting around, flipping through my songbooks, looking for lyrics to cover songs, when I found the lyrics to 'Holiday in Spain.' I had written them about a month before; they were all mixed up, out of order. I had forgotten to record the music or write down the chord pattern, so I didn't have any idea how the song went. I was exhausted, but I started playing this really pretty chord progression, and I started singing that melody with those lyrics. And this song, which had been a dumb song about going out and drinking, turned into this really sad, beautiful song about having a hangover. All of a sudden, it made total sense."
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27.11.2004 в 14:24Дж
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27.11.2004 в 22:03Какие?
Текст на предпоследнем месте.
Для меня текст и смысл песни на основном месте. Для меня это имеет большое значение. Без этого компонента песня для меня теряется. Допустим, если в песне красивая музыка и хороший вокал, но если там одна строчка, какая-нибудь: "Come on, baby, turn me on", то я такую песню однозначно не буду слушать. Еще больше я люблю тех, кто сам пишет свои песни. Больше всего, конечно, я поражаюсь лирикой Роба и Бон Джови. Вот такая я
Это относится и к русской музыке ( хотя ее я вообще не слушаю )
Ну русскую музыку я не воспринимаю полностью. Здесь еще лучше можно увидеть бредовость текстов, что я не приемлю. В английском что-то можно недопонять, а тут вся глупость на глазах. Единственное из русского чем я могу восхищаться - это тексты песен Юрия Энтина. От которых хочется плакать. Старые, красивые и умные песни. Это да. Может быть еще что-нибудь не совсем бессмысленное.
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27.11.2004 в 23:57Hard Candy , Big Yellow Taxi, Up All Night , хотя и другие песни очень даже ничего. Правда для меня CC вряд ли станет любимой группой.
Что касается текстов- тут все просто: c английским у меня швах ( с немецким гораздо лучше
А на русскую музыку у меня стойкий отрицательный рефлекс ( кроме классики ), может это не очень хорошо ...
Дж
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28.11.2004 в 00:34Ааа... Так они ведь с Hard Candy. Просто вначале я поняла по твоей фразе, что "другие" - это с других альбомов. Развернутые объяснения Hard Candy и Up All Night тоже есть, но я их не выложила, потому что они немного суховатые. А Big Yellow Taxi вообще не их песня, это кавер песни Джони Митчела.
Правда для меня CC вряд ли станет любимой группой.
Хе-хе
А на русскую музыку у меня стойкий отрицательный рефлекс ( кроме классики ), может это не очень хорошо ...
Нет, это нормально (хотя не могу судить объективно, т.к. антипатриот), но практически все мои знакомые не выносят русской музыки. Если по правде - а что там можно любить? Одна ж бездарность. Или же музыка для молодежи возраста средней школы. На личности даже переходить не хочется (я о эстраде).
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28.11.2004 в 01:33Да-а? *поднимая бровь и вспоминая о своих музыкальных предпочтениях*
*не в тему* Что-то мне так повезло... Что почти все знакомые, появившиеся со времен начала увлечения Уильямсом, оказались нелюбителями русской музыки... : \
*вспоминая еще одну старую деталь* А что кому-то там песня Машины Времени нравилась, это мне приснилось? : )
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28.11.2004 в 02:25Я про это не говорила. Я имела в виду современную русскую музыку. А Машина Времени - это классика. Она не в счет. Обожаю их за тексты песен, вот просто бы цитатами выписывала.
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28.11.2004 в 03:14Так вы, это, как-нибудь уж разграничивайте. В круг моих предпочтений практически не входит современная русская музыка, однако русская музыка как таковая - ее много...
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28.11.2004 в 14:59А в конце Miami Адам ведь и поет "Come on, baby..."(только вот последние слова не разберу)
Дж
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29.11.2004 в 11:14Хм... Значит я просто мало чего знаю.
А в конце Miami Адам ведь и поет "Come on, baby..."(только вот последние слова не разберу)
Нет, я не об этом
Ну а что касается "Come on, baby..." и Crows. Это я люблю. Люблю когда вот так суматошно повторяется одно слово спецом. В "Маями" это дико обожала. Именно из-за этого "Come on". В "Челси" тоже подобное, там "Maybe". А еще в "Baby, I'm Big Star Now", там "I don't know". Но так быстро, что слов почти не разобрать. Это их фишки