What we're most known for is the catchy choruses and the big hooks.

Then when I was in grammar school I played the clarinet, and then, after clarinet I played the flute in college orchestra - besides singing in the college chorus and things like that.

Le Petit is where I cut my teeth with some of my early roles. In 1982, I was in the chorus of 'Gypsy' and soon after I had my first lead as Jamie Lockhart in 'The Robber Bridegroom.'

One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.

'Gorilla Man' is a composite of a few individuals, but the song itself was actually inspired by James Taylor. I spied his 'Gorilla' album laying on my floor and in some altered state, instantly started singing the chorus. It was fun to write. There's an old notebook with at least three more verses in it somewhere.

I would wake up really early and go into the hotel bathroom, put a towel over the toilet, and put my laptop there. I'd put my headphones on and just write. And so now when I do writing sessions, and I am stuck on a part, or I can't figure out a chorus, I'm just like, 'Give me a second,' and I'll go to that bathroom.

I like things all shined up and rocking with hooky pop choruses.

I almost gave up on 'Door' so many times. I couldn't crack it. It started out as a simple song with just a chorus-verse-chorus. I felt like it needed to transform more.

I always felt different because I didn't pick one specific clique or group to be a part of, and I didn't choose one thing to be. I cheered, sang in chorus, was in student government, played in rock bands, went to dirt races in western PA... My interests have always been diverse.

My first job was in pantomime; I was a chorus girl in 'Dick Whittington' at 16. I got the part by ringing the director daily to see if anyone had dropped out, and it paid off eventually, when I was cast as a rat!

There are parts in albums where I wrote a lot of the lyrics. There are parts on albums where Steve wrote a lot of the lyrics, even albums where Steve did the majority of the lyric writing. Then there were albums like 'Coming Home' where I did most of the chorus lyric writing. But it was always split.

I think there are some songwriters who are just brilliant who can write and then I think there are some songwriters who can like me I have a problem writing chorus lyrics but I can write a song in a story like that.

I was at a school in England, a prep school, from the ages of 8 and 13. And every play they did was a musical. Parents love musicals. And I don't sing. It was driving me crazy. 'We're doing 'Macbeth.' 'Yes!' 'The musical!' And I was always in the chorus, because of course, in all the main parts, you had to be able to sing.

The hits always wind up being the songs with big, high choruses. They're the ones too high to sing every night - not that you'll ever, ever hear me complain about having to try.

If you take my stuff apart, you'll find my choruses of repetitions are picked up almost verbatim from Kurt Vonnegut, and my distanced fracture quality is all from Amy Hempel, who's probably my favourite writer.

I wanted to write a voice that for me, as a reader, had been missing from the chorus: the voice of an angry woman.

It's an experience I'd like to add to the chorus, that these blue-collar, macho men, like my older brother, had the capacity to say: 'I don't care, I love you anyway.' There are young kids thinking: 'I'll never come out because it's too hard in our communities.' But I'm saying maybe your story can be similar to mine.

It takes us long for a reason, but the end result is: we all completely believe in, not just every verse, every chorus, every bar is scrutinized, and that's the result of what you'll hear on this record.

The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.

I like structuring verses, choruses, but sometimes the verses might be a tango and the choruses might be death metal.

In 'Kill Rock n' Roll,' the choruses came about at the moment I was listening to a lot of the Supremes, and if you listen to that part, you can hear a melody and a harmony there that's not too far away from what the Supremes would probably be doing, but there's heavy guitars in the back.

I've always been a spontaneous singer. And all the stuff that you hear on the end of the songs, what they call the ad libs - that just comes out of my head. That's not thought out at all. I have the verses and the choruses, and then after that it's total improvisation.

We start a lot with melodies and instrumentation and trying to figure out good melodies for verses and choruses. We get to lyrics sometimes second, so we'll start humming a melody, finding something, and see where the music takes you as far as lyrics are and what you want to say and go from there.

'A Chorus Line' never dies; it just keeps opening doors and giving back to me - but there was a time when I considered it an albatross around my neck.

When I first walked into 54 Below, I had this kind of deja vu experience and tried to imagine what this was like back in the day when I would come here at night after doing 'A Chorus Line.'

The difficult thing about a pop record is that you're given guidelines: it has to have 3 choruses, and then it must be between 3 minutes fifteen seconds and three minutes forty-five seconds.

I would have to recommend the chorus of 'Lightning Crashes' for just about everyone that needs a little something, a little comeback.

My love songs are very personal and quite weird. They don't really have the big radio hit choruses because basically they're my therapy, stuff I have to get off my chest.

The only band I was really over-into was Cream. And the only thing I really liked about them was their live stuff 'cause they played two verses, then go off and jam for 20 minutes, come back and do a chorus and end. And I love the live jam stuff, the improvisation.

There is a real formula to writing music, verse, chorus, verse, chorus, bridge. It's very formulaic. The subject matter that you can address in pop music is somewhat restricted. It just doesn't allow that same emotive quality that you can put into poetry.

I have just begun a work in which an important part is given to a large chorus and with it I want to use several of your instruments - augmenting their range as in those I used for my Equatorial - especially in the high range.