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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
Good
Studios
Like
Expectations
Record
Build
Records
Song
Nothing
Enough
Studio
More quotes by Andrew Bird
I am, in some sense, a writer. Even though I kinda downplay the word thing, I do enjoy writing sometimes.
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I write a lot more when I'm happy, because you're hopeful, you're motivated.
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I really believe there's more honesty in one live show than there may be in my whole output.
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It's like you don't know you're making a record unless you're half-killing yourself.
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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'm a terrible Scrabble player.
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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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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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A good espresso to me is a little bit salty you just become used to a good taste. Anytime I go into a new place and they don't clean their machine properly or the water temperature isn't right, it tastes awful.
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Some of my earlier songs are kind of more about mental illness.
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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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The orchestra's an amazing instrument, but I don't want to just arrange my songs for it. I think that might be kind of boring and a little bit overdramatic, perhaps. I'm still just having too much fun doing it my way, for the time being.
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I have the barn, it's just kind of like a studio. Almost all artists have la studio to work in, and that's really what it is. A place to get away. I'll spend maybe four days out there if I can, just completely immersed - like where I don't bathe or brush my teeth for a few days, just get up and make coffee and experiment until the sun goes down.
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If you take a little time, let's say three weeks off, after recording a song, and you listen to it every other day, you're just going to know eventually.
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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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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
The melodies come out so strong that I'm like, Oh, crap. It's really better if they could both be kind of able to compromise, but the melodies, even more recently, they come out very fully cast and formed.
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I didn't have the patience for the research, or anything like that. I just like how it sets the imagination off. It's just an area that's very fertile for great words. Great metaphors, potentially.
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Playing the violin and singing and whistling are just three different ways of making sound.
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Anyway, I'm digressing, but this is just kind of this 10-and-a-half-minute, ambient - you hear cicadas and birds and the wind outside and crickets as I'm swelling the piece. I could never do that on a pop record. I could, but why would I want to be agitating?
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