Kate Nash Quotes

After all, in today's music scene every band seems to steal from other bands.

So basically, Travis Scott took files from Tommy Brown and took them to Kanye and said he produced them and it was on video. He took a song I had written a hook to and took it to Teyana Taylor for her to do and change a little bit.

My only concern about art collaborations is that I never thought of myself as an Artist. My tax forms say Musician/Songwriter.

All I really want is a beat from Kanye West. I've met him, and I think he's real cool with us. If I get that beat, I'm going to rap the best verse I ever dropped - even if it's his worst beat.

I'll be honest. We copied everyone... the Beatles, the Bachelors. It was the only way people would even listen to you.

Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'

I was just reading about Paul Simon in 'Uncut', and it was fascinating. I never think about him much or think about his music or anything, but it's interesting to hear his ideas on stuff.

It can get a little costly if you try and leave it until then to write songs. But you're writing all the time. You're collecting songs. I've had songs that have been collected over a two-year period for my next record.

When I get all focused on songwriting, I get into all the marketing and promotion that we do to make it happen. Then the right song comes along and blows it all out of the water. The right song will do it for you every time.

Even when I interviewed bands, it was about asking them about writing songs, so it was more for me than anybody else.

I can't tell you how many things I've worked on where I sat on it for a few years, and then somebody else did something very similar. Whether it's some weird vocal effect you hear on another record, or a drum beat, or even a song title, a subject matter, or a mixture of different kinds of music.

'Welcome to Atlanta' was a song I wanted to do on my first album. The idea was for me and Outkast to do it, but I could never come up with a beat for us to do it. Outkast beats and my beats were very different.

I had written or cowritten eight of the ten songs on 'Beauty and the Beat,' and I had written our biggest hit, 'We Got the Beat.' How was I going to top all of that?

Producers are the people behind the biggest artists in the game. We definitely deserve that title to be considered as an artist, because producers don't get the recognition and the credit that they really deserve a lot of the time.

With Joe Walsh, that was kind of random. I'd written 'Hi-Roller Baby' for myself while I was at Island/Def Jam; literally, four years later, it got cut. Songs can be around for a long time.

I was a Kimya fan for a long time, a Moldy Peaches fan, so I got to work on her 'Thunder Thighs' record a little bit and we became friends and just started writing songs.

A lot of people who work with Dre, you're lucky if anything sees the light of day.

Even writing verses from my first album, there were songs that I didn't use because I just felt that they weren't really for me. But I think that happens naturally when you write songs. You're in a different mood in every session. There's so many songs out there that could potentially be used by other artists.

Collaboration is a vital part of my creative life. I've had success with Guy Clark and Waylon Jennings and Johnny Cash.

As songwriters, we can go in and write for other artists in a time where you aren't necessarily feeling inspired for yourself.

I did 'We Can't Stop' for Rihanna, but it never worked. Every time I would play 'We Can't Stop' I was like 'this is the new 'Party in the U.S.A.'' I was like OK if I keep saying this is the new 'Party in the U.S.A.,' why don't I go to the girl who did 'Party in the U.S.A.?'

Quite often when I record a song, writing it and making a demo is the big thing and, after that, I think, how do I actually translate this into real life? A lot of the time I think I can't be bothered.

The best part of being signed by a major label was having the support of a big company behind me and the ability to meet new artists and producers.

I'm a beat hoarder. I'll record five songs in a year and I still hoard beats.

You have to change musically. Bubble gum pop was good for the first time you have sex. They didn't want to give the OK on some really good music. It was the frustration of being signed to that label. I was depressed.