Noel Redding Quotes

The basic idea is always constructed around piano or guitar and a voice, that's what we live and die by, because if you build up from that foundation, it's going to be strong.

We knew we wanted to put a lot of melody into it - a lot more than what we did on our first album.

They gave me four weeks, and I asked if the first week could be just music with the two main conductors. So, the conductors came over to my home, and we worked in the music room, and I learned my two little songs.

I am moved more by melodies, song structure, and evocative textures.

I like to always do my best to make music catchy, so I think a very catchy melody is cool.

When I first started fingerpicking, the first thing I learned was 'Don't Think Twice It's Alright' from Bob Dylan.

Ever since 'Hail to the King,' we've been more cognizant of our chord progressions, our key changes, drama in songs, a lot of dynamics - we've really added a lot of that in there.

I don't like to overcook songs.

If you listen to the great Beatle records, the earliest ones where the lyrics are incredibly simple. Why are they still beautiful? Well, they're beautifully sung, beautifully played, and the mathematics in them is elegant. They retain their elegance.

I really believe in melody.

I could tell it was a popular move as a writer to walk down the bass lines while you were writing a song.

Doing the instrumental thing, you're really looking for the power of the melody to carry the record.

I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.

I would listen to something on the radio and try to tap out the melody, then the harmonies.

I'm not interested in possible complexities. I regard song structure as a graph paper.

In the early days, I had very little idea about arrangements, and I wrote songs a little flat, as it were, just on an acoustic guitar. They didn't really have quite enough nuance.

It seems when I put together records, as Henley used to say, they're just like movies. They should have action, tension, love scenes, places to relax.

On our first record, man, I didn't know what I was doing. I was just playing. I was over playing. You're as green as you can be with no experience in recording or knowing how sometimes a song can work: when it's too much, when it's not enough, when it's not right.

I love writing music.

I've always written songs the same way. You learn different tricks - you learn craft, you learn structure, all that - as you go.

I cannot say that I know a lot about scales, but I can write songs.

With Audioslave, it's all about melody and chord progressions.

I love amazing lyrics paired with amazing melodies.

You cannot enter a studio and just start crooning before the mike. It is essential to understand the mind of the composer, mood of the song, and meter of the tune.

When you think of rock and roll and metal, a lot of it is based around the riff. If you can sing over the riff and what the arrangements are going to be like, you have to leave space for what most people consider one of the most key essential parts, which is the vocalist.