Craig Finn Song Quotations

I'm able to draw outside my own personal experiences. No one wants to hear the song about what I really did today, which is go get coffee and clean my apartment.

I don't really pursue writing songs for other people. I guess one of the things I always think about is a good line in a song should be something I can hear myself saying.

I've tried to write songs for other people and it usually requires them singing it and then changing the phrasing. I can put a lot of words in a song, and one of the reasons is, I'm not that good of a singer, so I don't hold a lot of notes.

The reality is that the shows kind of disconnect from the songs a little bit. You're playing the songs, but they take on a life of their own.

I think making the songs is to put strength in the community in some way.

I really like narrative songs, but I wonder if that's a thing for some people. Once they've heard the story, do they really need to hear the story again?

I can still sing most Eagles songs, even though I never bought a record and never liked the band.

An album doesn't mean as much to a lot of people now, compared to just songs.

If you wait four or five years between records, it better be a masterpiece, you know? And if you keep putting them out, you're saying, "Hey, here's 10 more songs.

One of the things is my process requires a lot of repetition. I can probably drive people crazy because I'm interested in playing a song twenty times in a row.

I think the biggest thing - and this I think is true of songs but also of movies and books and art in general - is when you have this moment where you hear a song or whatever and you say, "Hey, I've felt that exact way as a human being," and there's no easy way to describe it.

There's this moment sometimes, when you do a crossword puzzle and you have the one really long word. And once you get that, the whole thing kind of comes into focus. Sometimes it's just working things over in your mind and then finding that one line that kind of ties the song together, and now it works. It's a puzzle of sorts.

In the end, when you're writing a really good song, it strikes the right tone.

I think when you are doing a song you're trying to give people enough details that they connect.

I use a lot of specific places in my songs - traditionally, a lot from Minneapolis and St. Paul, where I grew up. Most people, especially when you get into international touring, have not been there. So you say, "Well, isn't it risky to talk about the corner of Franklin Avenue and Lyndale?" If you do it right, someone should say, "God, I know a corner like that." Offering specific details to describe something universal.

You are hearing this song, and you're 16, and it's a song about love, or a girl. And then maybe there's a girl at school that you like. So you're going to be thinking about that girl. That song is sort of about that girl. The songwriter doesn't know that girl, obviously. He wrote it for something else. But there's the specific meaning with the universal again.

I remember I was really into this British band, The Vapors, with that song "Turning Japanese." I thought that they were really next level genius cryptic weirdos. And then I realized when I got older they are just using a lot of British words, and I didn't know what they meant. But I thought, Oh, they are making up their own language.

I think you want to write a song that's like the songs you are into.

Sometimes people come up and say, "You have this line in this song and it meant a lot to me." You don't always remember that line as the one. You're putting part of your human being on the page so people are going to have different responses - the other humans are going to connect with different parts.

It's a template record for the intersection between pop and noise, starting out with 'Sunday Morning' - a real beautiful, almost innocent sunny day song. You have a lot of different types of things on one record. It can be really pretty, or it can be really awful inside, depending on where your head's at at the moment. I got it in ninth grade and I think I've listened to it every month since then.

It's good to have some kind of California in there. It's almost always appropriate. It's appropriate on a sunny day or late at night. If you grew up on the Grateful Dead, which I certainly did, you listened to 10 million bootlegs. But you realize that American Beauty has some really tight, well-arranged songs that aren't meandering.

The Replacements are the foundation for a lot of what came after in alternative and college rock. Let It Be is their best record and has the most diverse collection of songs. Some pop stuff, some heavy stuff, and some real moments of beauty like 'Sixteen Blue' and 'Androgynous.' It's a record I always go back to.