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I maintain that the best song is the one that ends up on the album. So whether I’ve written it or I haven’t, I’m very comfortable with both.
--
Interview, Clashmusic.com Mon, 05/07/2010

 

Kylie Minogue

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Ever since I was a little boy, I would study composition. And it was Pyotr Ilyich Tchaikovsky that influenced me the most. If you take an album like Nutcracker Suite, every song is killer, every one. So I said to myself, 'Why can't there be a pop album where every...' — People used to do an album where you'd get one good song, and the rest were like B-sides, they'd call them "album songs" — and I'd say to myself 'Why can't every one be like a hit song? Why can't every song be so great that people would want to buy it if you could release it as a single?. So I always tried to strive for that. That was the purpose for the next album.

 

Michael Jackson

 

On the second album I worked with a lot of people that I worked with on the Metamorphosis album. And when I worked on Metamorphosis I was so nervous and shy about going into the studio and working with people, they eventually toward the end made me feel so comfortable and so secure with myself. I loved working with them. I have a great relationship with them. I talk to them [all the time]. When we started talking about the second album, I was like, "I want to work with all the same people." They knew what was going on in my life, what I was going through. I would call them and say, "I feel like this right now. I want a song about this..." I never really felt like I had enough time to write my whole album and I don't know if I'm secure enough with myself to do that. But I wrote three songs on the album, one I wrote with my sister. It's so personal and these people really got what I was going through and how I feel inside. I think that's what makes it good and that's what makes me relate to them.

 

Hilary Duff

 

I was traveling in Greece as a teenager, and for those who haven't been to Greece, it's absolutely covered in olive groves — stunted, gnarly little bonsai-type trees. And I was driving on a moped and a huge black stallion had pulled away from its stake and was just going nuts in this tiny, tiny, hobbit-like forest. It was just such a powerful image, this enormous beast let loose and going wild in a fairy-tale wood of tiny trees... The song itself is really about going through the process of making the first album. It was a very strange experience and a very steep learning curve. For the previous 10 or 15 years, I'd been completely my own boss — when you play a gig, you just play your new song, the new song is always your favorite. And here I was having to make an album of stuff that's never gonna go away. I was being asked to make these huge decisions, so really the song is just about learning to listen to your guts again. There's actually very few times in our lives now when we have to do that.

 

KT Tunstall

 

"I have written my final song (The Tide) and am officially including it on the tracklist (for the sophmore Celldweller album) as of yesterday. I wanted to write a song that would make girls throw their panties at me (hopefully clean-ish ones) and guys get in touch with their feminine side. It didn't work out, but maybe I can make it happen for my third CD. 9/26/06

 

Klayton

 

"The first four songs on the album (Still Suffering by Klank) I had written for the next Circle of Dust album. They were in slightly different forms, but then I liked them so much I just kept them for the Klank album. I had some chord changes and lyric changes so it wouldn't be redundant. It's not like Scott (Klayton) wrote half the album but he did help a lot. I used a lot of his suggestions." Daren 'Klank' Diolosa

 

Klayton