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My sense of rhyme used to be more involved in my songwriting than it is... Still staying in the unconscious frame of mind, you can pull yourself out and throw up two rhymes first and work it back. You get the rhymes first and work it back and then see if you can make it make sense in another kind of way. You can still stay in the unconscious frame of mind to pull it off, which is the state of mind you have to be in anyway.

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Folk musicians, blues musicians did write a lot of songs about the "Titanic". That's what I feel I'm best at, being a folk musician or a blue musician, so in my mind it's there to be done. If you're a folk singer, blues singer, rock & roll singer, whatever, in that realm, you oughta write a song about the "Titanic", because that's the bar you have to pass.

A BIG PART OF SONGWRITING, like all writing, is editing-distilling thought down to essentials. Novice writers often hide behind filigree. In many cases the artistry is in what is unsaid. As the old saying goes, an iceberg moves gracefully because most of it is beneath the surface.

As far as songwriting, my inspirations came from love, life and death, and viewing other people's situations.

My experience with songwriting is usually so confessional, it's so drawn from my own life and my own stories.

At art school, a teacher said: 'The best paintings are when you get lost in a piece of work and start painting in a stream of consciousness.' I wanted to do music, not art, so started writing lyrics that way. The first song I wrote was called 'Ice Cream and Wafers.' The next was 'Holding Back the Years.'

I don't think people care about the mechanics of songwriting.