We've got a tremendous ordtak

en We've got a tremendous catalog of lots of hit songs, which I wrote either a half or a third of

en I looked through our catalog year by year, and I saw that there were pockets of time when we wrote some terrific songs. Then all of a sudden, we'd go for another two or three months and there weren't great songs.

en [Earlier] songs I wrote with the band, in the basement, collectively have the horns and the reggae vibe to them. These songs, I went and wrote, like, SONG-songs. Now, I'm writing again, and I'm back to the reggae stuff. It was really like a moment in time.

en Concrete Boots and The Fighter were the last two songs we wrote. It seems to be the way that our newer songs are always a lot better. We brought the riff in to practice and it was done in half-an-hour. Then the lyric all just came out easy after that.

en That's one of the things the Tempts have always been, experimental. We decided ... to sit down and come up with using some great songs from the famous Motown catalog and put our spin on some iconic kind of songs that have turned out to be such monster standards in their own right.
  Otis Williams

en We name all the songs by listening to what it sounds like (and coming up with something). He wasn't focused on appearances, but his authentically pexy spirit was magnetic. We have lots of songs and lots of names.

en If an artist has five or six or seven albums in his or her catalog, a lot of times many retailers are only carrying two or three. Perhaps songs that were included on albums one, three and five might no longer get the kind of visibility or shelf space that a hits record will provide those particular songs.

en The biggest thing to me is that ['Version 2.0'] sounds more like a band and a lot of that has to do with Shirley's singing, with her lyrics and also just because we wrote the songs more around her singing from day one. Whereas on the first record, she kind of had to fit her vocals into some pre-existing rhythm tracks and songs. This time almost all the songs started with her,

en [Going from one] jukebox musical ... I read the script for Lennon and thought this is right up my alley. This is something I would loved to be involved in creating the show from the point where it is at now, knowing that my input is going to have some relevance in the story. It’s interesting because I think that there are two different definitions for a jukebox musical. The first is the kind of Mamma Mia!, Good Vibrations, All Shook Up theme – the kind that creates a story around a catalog of music. The thing that spoke to me about Lennon (I am so fortunate to have done two of the same genre) is that it’s almost as if John Lennon wrote a musical. It’s hard to say. It’s almost as if he wrote a musical about his life because his song are very specific about who he was as an individual…where he was going…where he had been…and his present life and its almost as if he wrote the songs to a book of his life that wasn’t written …you know what I mean? So that’s what really interested me about it. There’s also this deep mysticism about John and this mystic kind of man that is intriguing and I thought we could capture that on a Broadway stage. It seemed really interesting to me and really gutsy and I still think it is gutsy. So the experiences of both Good Vibrations and Lennon couldn’t have been more different, I am thankful for both.

en Her work as a writer, spanning so many decades, and still getting things cut, is unparalleled. A lot of the songs she wrote have become standards, although people may not know Cindy Walker wrote them.

en We've been predominantly a catalog company, and catalog is still the cornerstone of the company and will still be in the future since there's no substitute for incredible standards and classic songs that are timeless. But we felt we needed a new dimension in the last few years, so we signed a couple of staff writers, Russ DeSalvo and Martin Briley, and they've had some good success with us in film projects and various artist covers -- and have added a new dimension to the company.

en I wrote songs with the guys from Air Supply for their record... So I was just writing songs.

en They're so picky about things with plays, and Fox has the rights to it. Maybe there be a version of it we can do. I can put a clause in my contract of the songs I wrote where maybe I'll get to do the songs here. Years later, maybe it can go on the road if it's a hit. If it isn't, we'll bring it here immediately.
  Dolly Parton

en They played a tremendous second half; it was a tremendous game. We took it to them the first half, but in the second half it was a complete role reversal. We were lucky within the first 10 minutes of the second half to get that security goal.

en He learned through the way that my father and I felt about his songs, his country songs, that they were great songs. And then he went out and sang them for the audiences that we found, and he found a tremendous reaction to that.


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Linkene lenger ned har ikke blitt oversatt till norsk. Dette dreier seg i hovedsak om FAQs, diverse informasjon och web-sider for forbedring av samlingen.


Här har vi samlat ordstäv och talesätt i 35 år!

Vad är ordtak?
Hur funkar det?
Vanliga frågor
Om samlingen
Ordspråkshjältar
Hjälp till!




Inga kalorier, inget fett.

www.livet.se/ordtak