Top 80 LP Quotes

‘Girls Go Wild’ was born out of a Joshua Tree excursion with some close friends after coming home from a long bit of touring.

I’m a songwriter-singer. I’m very vocal oriented, of course, but songwriting – no matter whether it’s for myself or another artist – is of paramount importance to it all.

I’m always working my own thing. A few times a week – I try to not go too crazy – I’m working with some other artist. But I’m constantly working my own stuff, and my own stuff seems to come in little bursts.

I do rock the sunglasses. To a rude point, at times. But I don’t care, it’s my first defence. I’m shy, so I’ve gotta have something. I need some protection, man.

There is a pop element to what I do, but I’m going for a deeper, more left-of-center vibe. That’s the sound I’ve always been looking for.

I do have a little setup at home. I use Pro Tools and a Neumann mic. Neumann’s are my favorite.

You go to a studio with a guitar, people are like, ‘Oh this girl’s going to write this song on a guitar.’ Or wants to, or whatever. You go with a ukulele, people are just like ‘Eh, well, whatever.’ They don’t really care. It’s a very non-threatening kind of instrument.

I do have a little setup at home. I use Pro Tools and a Neumann mic. Neumann’s are my favorite.

‘Pop’ is not a bad word. What’s more interesting than changing the chemistry in a room in three minutes with a song?

I found New York too… ‘vertical,’ closed off, I didn’t feel the muse like I did in L.A. Maybe it’s the weather?

The myriad of ways that a song can be interpreted is astounding to me, and it’s part of the allure of writing.

I’m very accepting of how people live their lives.

It is very hard leaving home for life on the road. The toll that it takes is actually immeasurable, and you can think all you want about what it does to your relationships, but the way it actually plays out is very deep and very unique to those personalities that are involved.

I like to make broader strokes with politics in my work.

You go to a studio with a guitar, people are like, ‘Oh this girl’s going to write this song on a guitar.’ Or wants to, or whatever. You go with a ukulele, people are just like ‘Eh, well, whatever.’ They don’t really care. It’s a very non-threatening kind of instrument.

I feel like Canada is really good at nurturing their artists, and America’s not so good at that. The artistic community is so important to a country.

I appreciate good work no matter where it’s coming from.

It is very hard leaving home for life on the road. The toll that it takes is actually immeasurable, and you can think all you want about what it does to your relationships, but the way it actually plays out is very deep and very unique to those personalities that are involved.

‘Pop’ is not a bad word. What’s more interesting than changing the chemistry in a room in three minutes with a song?

I just want to feel free. If someone feels inspired by it, then fine.

I have a retro feel to my work, to my person, but I also have a futuristic view of what’s possible. We can have people in pop that have more diverse looks and attitudes.

I appreciate good work no matter where it’s coming from.

I know all too well what it takes to have a hit: A little bit of luck, a little bit of work, a little bit of talent.

I think one of the people that’s done the most for the gay movement is Ellen DeGeneres.

No matter what, if you write a song that’s great that everyone expects to be a hit, then everyone’s going to be expecting another one from you. If you write a song that no one notices, you’re going to want to write one that someone will.

I studied Paul Simon’s ‘Slip Slidin’ Away’ and ‘Still Crazy After All These Years.’ I wanted to explore adult themes, portraying the hurt that’s in even a good relationship.

I look on the outside how I feel on the inside.

I definitely felt the love from L.A. from the get go. People appreciate good music out here.

I would wear sunglasses all the time if it wasn’t looked down upon in certain situations. I always thought I’d be someone who wore sunglasses like Roy Orbison.

I was having a nice anonymous little time as a writer. I really was on the writer path. I was sort of minding my own business. I loved making a living in music.

I just want to feel free. If someone feels inspired by it, then fine.

Jeff Buckley songs are kind of random but so catchy.

To me, rock and roll is not a perfect science.

I think Pride, it means ultimately, finally, being able to live with freedom in some ways. Or, at least, that’s what we’re striving for.

I’m always working my own thing. A few times a week – I try to not go too crazy – I’m working with some other artist. But I’m constantly working my own stuff, and my own stuff seems to come in little bursts.

I think everybody needs to find out who they are and who their, like, inner superhero is, or who you like to be. The world would be a better place if everyone was doing what the hell they wanted to do and being who they wanted to be.

I like diversity. I’d like there to be all levels of gay and straight, all different variations of gender, all colors, all creeds. I’m into seeing that.

I was done with my second major label deal, and I was doing a lot of urban sessions, and I had an acoustic itch. And you know, I picked up a ukulele. I always wanted one. And it just resonated with me. I would wake up with this uke in my hand. For me the ukulele just opened this door in my heart.

When I first got into the major label system, they were like, ‘Hey, you’re great – now write with a million people so we can get songs.’ That was something I hadn’t done before, and the songwriters I was working with had worked on some massive numbers – like ‘True Colours.’ One of the guys wrote ‘Livin On A Prayer.’

No matter what, if you write a song that’s great that everyone expects to be a hit, then everyone’s going to be expecting another one from you. If you write a song that no one notices, you’re going to want to write one that someone will.

To me, rock and roll is not a perfect science.

When I’m singing my songs on stage, I feel like I’m doing a rock show, even though I don’t think all my music is particularly straight up rock.

I have a lot of stories about being mistaken for a guy.

I’ve written for Rita Ora; I’ve written for Chiddy Bang – there’s been a few.

I feel like emotional content is the most important of any song, for any artist.

I think that people relate on matters of the heart.

Every artist wants to connect with the listener.

It’s interesting what a new song can do to the other songs. A new song can be the grout of the record, tie the songs together, and define a new room in the house, helping the other rooms make sense.

When I’m singing my songs on stage, I feel like I’m doing a rock show, even though I don’t think all my music is particularly straight up rock.

I write too much to ever keep everything just for myself.

I guess I just feel very comfortable with being myself.

I think one of the people that’s done the most for the gay movement is Ellen DeGeneres.

I think I have a different view of what pop is and what can be acceptable in that realm. I feel good about that. I want fans to see that not everything’s so black and white with genres.

Pop is like a puzzle: to write a perfect pop song, you never know, and there’s so much that can happen in a second with a song.

I was having a nice anonymous little time as a writer. I really was on the writer path. I was sort of minding my own business. I loved making a living in music.

Pop is like a puzzle: to write a perfect pop song, you never know, and there’s so much that can happen in a second with a song.

I have a retro feel to my work, to my person, but I also have a futuristic view of what’s possible. We can have people in pop that have more diverse looks and attitudes.

I only want to write a song with the people who want to write a song with me.

I’m a very emotional singer and songwriter.

If you like it live, you know that you’re probably going to like the record, usually.

My mom died before she knew I was gay, and my dad thought it was a phase, then realized it wasn’t.

Trying to launch a career as an artist is like trying to run through a crowd holding hands with five people. It’s so difficult.

I know all too well what it takes to have a hit: A little bit of luck, a little bit of work, a little bit of talent.

There is a pop element to what I do, but I’m going for a deeper, more left-of-center vibe. That’s the sound I’ve always been looking for.

My thing with New York was that it felt so insular. When I went to L.A., everybody I knew was a cool, amazing musician. In New York, they’d be hunkered down trying to form a band. But in L.A., guys in bands were also playing with other artists, touring with other artists, and collaborating with other artists.

My thing with New York was that it felt so insular. When I went to L.A., everybody I knew was a cool, amazing musician. In New York, they’d be hunkered down trying to form a band. But in L.A., guys in bands were also playing with other artists, touring with other artists, and collaborating with other artists.

The first time I wrote a song, I couldn’t really believe – ‘Can you just do that? You’re just allowed?’ I never thought about songs on the radio and who wrote them.

When I first got into the major label system, they were like, ‘Hey, you’re great – now write with a million people so we can get songs.’ That was something I hadn’t done before, and the songwriters I was working with had worked on some massive numbers – like ‘True Colours.’ One of the guys wrote ‘Livin On A Prayer.’

I do rock the sunglasses. To a rude point, at times. But I don’t care, it’s my first defence. I’m shy, so I’ve gotta have something. I need some protection, man.