Quotes of All Topics . Occasions . Authors
If you take all that I've learned from Joe and all that Joe has learned from me, and you throw all that into a song, not only are you using the gifts that God gave you, but also all the experiences you've had.
So many want to be lifted by song and dancing, and this morning it is easy to understand. I write in the sound of chirping birds hidden in the almond trees, the almonds still green and thriving in the foliage.
I've written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.
I think I've gotten a pretty fair shake in the music press over the years. The only think that kind of irks me is when people assume that I must be really depressed person because they find my songs to be sad.
You dance love, and you dance joy, and you dance dreams. And I know if I can make you smile by jumping over a couple of couches or running through a rainstorm, then I'll be very glad to be a song and dance man.
First you date the songs, and then you get engaged and then you marry them. They have to stand the test of time, because they are going to be yours for the next 20, 30, 40 years. So you had better choose right.
I don't see the songs as uplifting, but rather as trying to make lemonade from lemons, or whatever. When I listen to them, I understand the context. I don't like to pepper songs with my own experiences, though.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
You always gotta reach the people who feel bad about themselves or insecure about themselves, and I think 'Like 'Em All' was just a perfect song for all the girls, and I think that's why it blew up like it did.
As long as bands are still out there slaving away in the garage and putting out their own records and just pushing the envelope for how songs should be written or how they should be played, punk will never die.
If in the twilight of memory we should meet once more,we shall speak again together and you shall sing to me a deeper song. And if our hands should meet in another dream we shall build another tower in the sky.
Laughter, song, and dance create emotional and spiritual connection; they remind us of the one thing that truly matters when we are searching for comfort, celebration, inspiration, or healing: We are not alone.
So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.
The world has made everything else and still it can't make peace. And the reason it can't make peace is because of the evil, ignorance and stupidity. I have songs that explain these facts. And that's the blues.
With Rock Band, you can play along to Black Sabbath or Nirvana and possibly find new ways of appreciating their artistry by being allowed to perform parallel to it. Rock Band puts you inside the guts of a song.
But some nights, I must tell you, I go down there after everyone has fallen asleep. I swim back and forth in the echoing blackness. I sing a love song as well as I can, lost for a while in the home of the rain.
8th grade I started writing my own songs. They weren't good songs or anything, but it was always the song writing aspect of things that was important to me, I always just wanted to create a song it seemed like.
We are all treading the vanishing road of a song in the air, the vanishing road of the spring flowers and the winter snows, the vanishing roads of the winds and the streams, the vanishing road of beloved faces.
Precisely because we do not communicate by singing, a song can be out of place but not out of character; it is just as credible that a stupid person should sing beautifully as that a clever person should do so.
When I start working on a batch of tunes - like roughly 10 solid tunes - I always know there'll be another 10 to follow, because for every song I invest a lot of time in, there's another song waiting behind it.
I think 'All Out of Love' is my favorite song because it's been the most successful. It's been in about 30 movies, it's been a number one record, and it keeps getting played on the radio, it's always somewhere.
Many of the songs were written as a way of paying tribute to specific people, but in the end the songs took on a life of their own and I didn't worry about accuracy or biographical truth, so it's not a problem.
The thing about albums is just coming up with new material. I just got tired of that syndrome of putting out an album and then some reviewer claims that this song or that song has something to do with x y or z.
I will have a song that I'm in love with for a couple of months and then I'll go to something else. That's just constantly changing. And sometimes I will go back to old one that I haven't heard for a long time.
I've got a lot of songs about having fun and partying, but it's a lot of work. Sometimes, I make 50 songs and pick out the best 10. I've been in the studio all day, all night, making the beat, writing the raps.
To this day I get mail from women who say, I went to law school because of your song. But I would hate to think out of the wide spectrum of things I have done in my career, that's all I would be remembered for.
I've always felt profoundly about what's going on in the world on a daily basis. What I hadn't felt was that I was at a point in my writing career where I could write about these things in songs and do it well.
Song, songs kept them going and going; They didn't realize the millions of seeds they were sowing. They were singing in marches, even singing in jail. Songs gave them the courage to believe they would not fail.
Certain songs by hearing the rhythm, it tells you that is either a love song or you might be heartbroken or the songs give you the vibes and you just know that certain songs are militant that you have to write.
When I start writing, I'll have a vague concept or I'll just have a title, and the song just goes on its own direction. Usually it goes in many directions within each song. They get really convoluted sometimes.
I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
The thing about Depeche songs is that they’re so descriptive. For me, they tell some kind of story about a character who’s trying to redeem himself or to find something to believe in-some kind of faith or hope.
Some song ideas absolutely require a kind of rigid discipline, and others require absolute chaotic abandon. The form is only valid if you know how to un-form it. I don't mean to sound like an intellectual here!
Enema of the State song is kind of like a tattoo, like a moment in time, but it aged well. It's not like one that you're looking at like, "Aw, God, I gotta get that s**t removed." It's something we're proud of.
But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.
When I lived in a little flat in Pimlico in 1981, I'd write in the hallway. As you walked in, there was a tiny little recess type thing, hardly a hallway, really, and I'd sit there writing songs with my guitar.
To take part in the African revolution, it is not enough to write a revolutionary song. You must fashion the revolution with the people. And if you fashion it with the people, the songs will come by themselves.
I'm not tempted to write a song about George W. Bush. I couldn't figure out what sort of song I would write. That's the problem: I don't want to satirise George Bush and his puppeteers, I want to vaporise them.
What I'm trying to tell people is that police brutality in the 'hood is nothing new. And the thing is that whether this guy, the cop killer in my song, is real or not, believe it, there are people at that point.
When I started writing poetry, it was always in very hip-hop influenced spaces: Someone would teach a Nas song side-by-side with a Gwendolyn Brooks poem, and we'd talk about the connections between those things.
You noodle around with tempo and sound until you get the perfect fit for that particular song, and then, so long as you can sustain it, God is on your side and everything comes easily and even the waiters smile.
Here's a little song I wrote You might want to sing it note for note Don't worry, be happy In every life we have some trouble But when you worry you make it double Don't worry, be happy Don't worry, be happy now
I never had huge amounts of money when I was young. I had huge amounts of fame, and I always had the sense of labor and recompense. I always said I don't want to work for pay, but I want to get paid for my song.
It's up to to you to perfect that gift that you've been given. Put your spirit into that song. Focus on the words that you are singing. Get into the experience that you are singing about and sing your heart out.
Normally what I do is I'll record something that I really like which will be part of a song or an idea. I kind of just record things and then I'm done with them. It takes discipline to actually carve out a song.
I would start off with a lively rag, then would come a ballad, followed by a comedy song and a novelty number, and finally, the hot song. In this way, I left the stage with the audience laughing their heads off.
Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.
I have so much music inside me I'm just trying to stay afloat. I don't tend to write for a particular band - you have to just write the songs and then let God into the room and let the music tell you what to do.
Every breath you take and every move you make Every bond you break, every step you take I'll be watchin' you Every single day and every word you say Every game you play, every night you stay I'll be watchin' you
Folk music is not so much a body of art as it is a process, an attitude, and a way of life; its distinguishing features lie not within the songs themselves, but in the relations of those songs to a folk culture.