Quotes of All Topics . Occasions . Authors
I love all those girls the same as they love me. I get thousands of letters a week from girls who love me.... Every time I sing a song, I make love to them. I'm a boudoir singer.
But we're still rehearsing and planning to make a new album next year. We have some really good new songs that we've already been playing on that last tour that we just finished.
I used to watch 'Top of the Pops' when I was a kid and say 'Yeah!' or 'Boo!' at every single song. So there was nothing in the middle. You brutally put it on one side or another.
Between the record companies being the way they are and the fact that people can just download one song instead of buying a whole album, it's hard to make a good living nowadays.
You're not going to hear me do a rap song, you're not going to hear me do a jazz song. We have to be true to our roots, do what we do, and try to do it a little better each time.
I went to see 'Listen to My Heart: The Songs of David Friedman.' I have been a fan of his music for years, and I was invited to opening night because I know one of the producers.
I started writting songs when I was really little because there were things I could say through songs that I couldn't verbalize any other way. Writting was something I had to do.
But I'm able to just keep going, and that's the challenge. It's the next song. And then just enjoying the shows and people who come out to the shows. It's pretty organic, really.
The craft, the writing of a song, is about creating a story, a life story, a world within three minutes, but that's the frame, if you like, the picture frame. That fascinates me.
The public has heard the stereotypical love songs a million times, and they've heard the stereotypical life-or-death songs millions of times. It's good to mix it up a little bit.
I have my songs ready in my head, gather the guys, play it and then let them go with it. [The music] finds its way, we do what the music says to do......the song is the producer.
If the spirit comes through in a Madame George type of song, that's what the spirit says. You have very little to do with it. You're like an instrument for what's coming through.
Jesus this song you wrote The words are sticking in my throat Peace on Earth Hear it every Christmas time But hope and history won't rhyme So what's it worth? This peace on Earth
I want people to listen to the lyrics of each song and absorb the music fully before they look at me and make a judgment about what they think my music will or should sound like.
I truly believe that if we keep telling the Christmas story, singing the Christmas songs, and living the Christmas spirit, we can bring joy and happiness and peace to this world.
The songwriting of Hall & Oates is deceptively complex. There are a number of key changes that pass you by as you're listening to the song because they're so seamless and clever.
Sometimes I just get into the zone of the song, but in the outset I feel like I love to cater to people - but not necessarily at the expense of my artistry or anything like that.
It didn't make much difference what time of night it was, whenever [my father would] come in drunk, he'd say, "Get up and sing me some songs." We didn't want to sing but we sang.
Like most kids, I grew up singing 'This Land Is Your Land' in grammar school, but with the most radical verses neatly removed. This was before I knew it was a Woody Guthrie song.
When I was writing this new bunch of songs, I was singing a lot lower, because they were more intimate in a way. I had to come up with a way to frame the music that was intimate.
After all my years of doing instrumental music I still like just a simple instrumental song with a nice catchy melody and an opportunity to play a solo over a harmonic structure.
When I write a song, I tap into the emotion and the feeling and then I use the emotion to write the words. It's the opposite when I act. I use the words and tap into the emotion.
You can't outdo 'Street Songs' and I didn’t even try. [It] had that special magic that comes with timing and good vibrations and you can't even try to capture that exactly again.
Everything is Song. Everything is Silence. Since it all turns out to be illusion, perfectly being what it is, having nothing to do with good or bad, you are free to die laughing.
In the earlier days I did most of the song writing by myself, and I got to a place in my life where I felt it was necessary to go outside my box and get some outside inspiration.
I do not think men have more talent. There are a great many women in the arts; novelists, painters, sculptors, poets-but the proportion is far lower in the field of song writing.
The answers were maddeningly absent—it was like trying to remember a song that you knew made you feel a certain way, without a title, artist, or even a few bars to bring it back.
The melody is the most important thing that must stay in the minds of the people who listen to you. No matter how many notes you play, you can't let them forget what the song is.
"Snapped" happened maybe like two months after I released the mixtape. I just like took a break from recording and that was the first song I wrote and recorded after the mixtape.
Life was just a tire swing. 'Jambalaya' was the only song I could sing. Blackberry pickin', eatin' fried chicken, And I never knew a thing about pain. Life was just a tire swing.
I remember those days right after I graduated from college. All I had to do was wake up in the morning and think about writing songs. It's not like that anymore, needless to say.
Sitting next to Olivia Newton-John, I was like, 'Do not sing one song from Grease.' That's all I was telling my brain at all times: 'Do not sing Hopelessly Devoted. Don't do it.'
Music that was made in the 60s and 70s did come from a really soulful place. The seed for the songs written in the 90s were planted in those songs, even though they were samples.
Writing a song doesn't heal things. Even if the song comes up with a solution, it's still only a theory. Going out and living my lyrics is a whole other deal. That takes courage.
Pain is a common emotion in many of my songs mainly because I often don't know other ways to express it adequately. In my songs I wrestle with the things that I don't understand.
Whenever any great song or album gets lost in the ether, someone is deprived of the joy of hearing it, and the great effort of those who created and recorded the work is damaged.
I like Stan [Getz], because he has so much patience, the way he plays those melodies - other people can't get nothing out of a song, but he can, which takes a lot of imagination.
A lot of my songs are fantasy. I can dream up all kinds of things. That's the kind of world I live in. It's very sort of flamboyant, and that's the kind of way I write. I love it
Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.
I feel like I want to write some songs and I don't know how to go about doing it. Usually it's the lyrics that are a problem, and I think I am not really cut out to be a lyricist.
Lyrics should not need to stand on their own; many of [Bob] Dylan's do, but in common with other great lyricists, he has written plenty that falters on the page but soars in song.
For flowers that bloom about our feet; For tender grass, so fresh, so sweet; For song of bird, and hum of bee; For all things fair we hear or see, Father in heaven, we thank Thee!
I don't really see how any song can not feel contrived if it isn't honest, and how could I write honest songs if I don't write about stuff going on in my life and how I'm feeling?
If someone doesn't like another artist's song, that's their prerogative. But now it's kind of scary, and I never thought of it that way! But I love the challenge and feeling fear.
I see songs not as a commodity used up when the album goes off the charts, which is often the case with pop songs. I see them as a body of work. Life should be breathed into them.
Sometimes we drop in and do an acoustic set somewhere, and that's really fun to take all these insanely loud songs, and to do them quiet. It's really a sight to see... or to hear!
In some songs, like propaganda songs-and don't get me wrong, I love some propaganda songs. They're some of my favorite songs in the world. It's just that I don't enjoy writing it.
I had a very important personal point to make with this song [I Want Your Sex]. I just hated the idea that lust and forbidden excitement could only come with sleaze and strangers.
I also wanted to make a record that was about other things than romance, yeah, after two years on the road singing all the songs from the first album, I got kind of tired of that.
It's one of the craziest feelings to be on stage and know that you were sitting on your bedroom floor when that song came to be and now there's an arena full of people singing it.