I mean a song that's specifically for the girls. It's saying you know we talk about them night and day, we're constantly pondering on men and what they've done good and what they've done bad and all these things in our lives.
You can keep rummaging around until you find a song you like, but you can't predict whether it'll hit or not.
But I'm able to just keep going, and that's the challenge. It's the next song. And then just enjoying the shows and people who come out to the shows. It's pretty organic, really.
I wrote that song for my wife, and it's what some guy who's sitting under a tree would be singing to the woman of his life, telling her how wonderful she is. To me, that's more lasting than something that sounds like it belongs on a movie soundtrack.
That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.
I don't want to be somebody who stands still and sings pretty. Each song is a world. Each song is a story. I don't achieve nearly what I want.
Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldn't dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldn't buy those types of records.
I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.
Some of the press who speak loudly about the freedom of the press are themselves the enemies of freedom. Countless people dare not say a thing because they know it will be picked up and made a song of by the press. That limits freedom.
I think a good song is a good song is a good song.
In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.
I'm sure there's going to be some material from This Is Not Going To Be Pretty. I usually use that song to just introduce myself to the audience, although the patter in between the song is always different.
But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.
A rhyme doesn't make a song.
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.