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You can build up expectations for a song before you record it, and then it's like nothing's good enough in the studio.
Andrew Bird
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Andrew Bird
Age: 51
Born: 1973
Born: July 11
Fiddler
Film Editor
Guitarist
Jazz Musician
Musician
Singer
Singer-Songwriter
Chicago
Illinois
Andrew Wegman Bird
Andrew W. Bird
Enough
Studio
Good
Studios
Like
Expectations
Record
Build
Records
Song
Nothing
More quotes by Andrew Bird
Honestly, I didn't have the patience for biology or history in an academic sense, but I always liked the kind of big questions.
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Melodies are just honest. They can only be what they are. Words have the capacity for deception. Theyre all full of subtext, and some of them are cliche and overused and vernacular. Theyre tricky. All I can say is, words are tricky.
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I'm into lately being a little less precious about writing and being like, Okay, what if I just locked myself in my room, pretend that there's someone outside with a gun that's saying, 'Don't come out until you write something.'
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With the words, a lot of things start with questions. Some word kind of piques my interest, and I love the way it sounds, but I really don't know what it means. And I honestly don't care for a while.
Andrew Bird
I put a lot into my records, and I won't release anything I'm not totally thrilled with.
Andrew Bird
All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.
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I'm a terrible Scrabble player.
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People who are thinking about your music almost as much as you are, that almost never happens.
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What you see at the Field Museum is only like, 10 percent of the collection. It's birds of paradise and passenger pigeons and in all these drawers that pull out, these specimens come out and it's spectacular. And it worked out.
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The instrumental record is a bit subtler. It's the kind of stuff on sound check, when I first pick up my violin and start to play, the kind of melodies that just pour out of me. Some of them sound very classical. Some of them sound experimental, polyrhythmic loops that I make.
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Songwriting requires some sort of ceremony to even get the process started, and it can be somewhat arbitrary.
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With digital sound just becomes simply information, not the sum of its parts.
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The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
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I create little challenges for myself, like, 'Okay, whatever you do in this song, you've got to somehow work in Greek Cypriots,' or something like that.
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I really believe there's more honesty in one live show than there may be in my whole output.
Andrew Bird
I've always felt that dark lyrics with dark music is pretty useless. Maybe that's a strong statement - not useless, but for me, it's just boring.
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Most records, you build from the drums and bass up. This one, we started with the vocals in Nashville and recorded them live with just the guitars and tried to make that complete and lovely-sounding without any adornment at all. I really wanted to get something with the vocal that I've never gotten before Armchair Apocrypha.
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I'm coming from a place that's more experimental and indulgent already, so for the last 10 years, it's been more like, How can I defend my own sensibilities by writing a nugget of a little catchy pop song? That's how I'm stretching myself, by writing something really simple.
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You travel with the hope that something unexpected will happen. It has to do with enjoying being lost and figuring it out and the satisfaction. I always get a little disappointed when I know too well where I’m going, or when I’ve lived in a place so long that there’s no chance I could possibly get lost.
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The weirdest time is when I'm having to explain myself all day to journalists, and then I don't perform, so there's no release, just a lot of self-consciousness. Then what do you do with that at the end of the day? How do you release your brain from talking about yourself all day?
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