Quotes of All Topics . Occasions . Authors
The act of the being in the band has very little in common with writing songs. The songs come out of it, and the band is necessary for the songs to emerge, but the band doesn't exist just so the songs can emerge.
For me, a song doesn't really take flight until it has a lyric on it. ...Without a lyric that I'm happy with, it could be the greatest song ever melodically or arrangement-wise, but it doesn't have any resonance.
We sing a little song before we eat, a little blessing before we eat, and it's really - we're thanking the Lord and the Earth for the food that we eat, and it really brings you together in a profound kind of way.
Let's have the music that will open the door to millions of people... the kind of music that will not make people think only of the song or even of the singer... not music that is confined to the merely personal.
I found a sound that people really liked - I found this basic concept and all I did was change the lyrics and the melody a little bit. My songs, if you listen to them, they're quite a lot alike, like Chuck Berry.
Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.
The moon upon the ocean is swept around in motion but without ever knowing the reason for its flowing in motion on the ocean the moon still keeps on moving the waves still keep on waving and I still keep on going
I think that I write about stuff that others don't write about. I don't have a bunch of love songs cuz I don't really have much boy experience. I just write about what I am actually going through in my real life.
To me, Modest Mouse is one of the best bands ever. I actually wasn't surprised that they made it big. It's always weird to see it happen, and it happens so fast, all of a sudden songs are in the background on TV.
I have always had to write songs. As a lifestyle and as a business model, it's pretty difficult. Largely at this point I'm so deep in. I have a lot of skills in this particular world, but it just feels compulsive.
I personally believe that most people that play an instrument would be able to write a few songs here and there. But they say, "I tried, I can't do it" and give up and don't try it again; they get too discouraged.
Although, my experience when I've been depressed, not only am I too depressed to sit down and write a song, I'm too depressed to pick up my feet. So if you can at least write about it, you're halfway away from it.
Melodies are far more interesting. They are there, in your face, in certain sections of the songs. People do complain about the melody thing, but we do hit patches of melody and beauty, as well as the other stuff.
The truth is, people go to shows because they want a show. They want showbiz. When people talk about a show they saw it's not because they heard a song, it's because they were excited and geared up about the show.
Joseph Beringer...dances around behind me singing some poorly rhymed and slightly dirty song about my [racing] odds at my skirts. 'I don't even wear skirts,' I snap at him. 'Especially,' he says, 'in my daydreams.
I like to find music that shares a rhythm with the sentences I'm working on. And though I'll probably regret saying this, I think some songs actually don't sound too bad when they're played through lousy speakers.
I also remember a line from a song by Smog [Bill Callahan], which seems to describe the experience of a town-dweller moving to the country: "I was raised in a pit of snakes/Blink your eyes - I was raised on cake."
Even if it was a difficult operation to copy a song, it only takes one person to do it. After that the spread of the song via the Internet or other means of propagation is only limited by the honesty of the users.
There's a bit less elbow room and latitude to take it somewhere else, at least at festivals. In the club you can do whatever you want but at festivals, especially Ultra, nowadays the crowd wants to hear our songs.
The more congenial page of some tenth-rate poeticule worn out with failure after failure and now squat in his hole like the tailless fox, he is curled up to snarl and whimper beneath the inaccessible vine of song.
There is more in you of good than you know, child of the kindly West. Some courage and some wisdom, blended in measure. If more of us valued food and cheer and song above hoarded gold, it would be a merrier world.
A song is like a smile. If you meet people from another country, even if you don't speak the same language, you know what a smile means. A song works the same way. Music produces feelings that need no translation.
Ever since I was really really little, I was just singing all the time. Like one of my favorite games when I was little would be to just have one of my sisters pick a title, and I would impromptu create that song.
I am a politically motivated person, and that will come through in the music. I'm not sure if every song will be 'Take Me to Church,' but I can only hope that people enjoy the body of work that I have ahead of me.
You have moments of grief in life, and if you can put pen to paper and capture that, that's something wonderful. I can revisit actual songs about past deaths, and I know that emotion is as true now as it was then.
My little brother and I took piano lessons at a young age and played music together later on in life just to play around at home until we decided to make a record. Eventually we started having more and more songs.
If you can surrender your protection devices, in order to track the potentially raw and perhaps elusive emotions that are the song's DNA, then that is creative vulnerability, which is ultimately hugely empowering.
If I'm focusing on playing and enjoying the song, then it always goes well. I get lost in the song, and the performance is so much better. If the focus becomes not making a mistake, then it just feels rigid to me.
When I finished a song that I thought was good, I thought, I don't know where that came from, so I have no idea if I can do that again. I'm talking like, a hundred and fifty songs down the line. I still feel that.
I Repent of ever having recorded one single song, and ever having performed one concert, if my Music, and more importantly, my Life has not provoked you into Godly Jealousy or to SELL OUT MORE COMPLETELY TO JESUS!
My life is like a song and I think I know the words, And as I start to sing along the whole verse becomes a blur. So I freestyle improv, make mistakes and evolve, The obstacles repeat, cause naturally it revolves.
I knew all this Beatles music. I knew the songs phonetically. It was like my whole experience of that music was out of focus, and somebody put the perfect glasses on me, and all of a sudden I could see everything.
When Kevin Brockmeier says, "Everything, given the possibility, would choose to be a song," I recognize the implicit truth of such a miracle. What can I say, I'm Irish, and we take naturally to that sort of thing.
I heard your song the moment we were born. And years later, it dragged me back from the lake of the half-dead when all I wanted to do was die. Each time someone tried to kill me, it sang its tune and gave me hope.
With millions of people creating songs and uploading them to the web internationally, most artists know they need to dismantle the monetary barrier between themselves and the listener or they simply wont be heard.
I don't have a favorite song that I've written. But I do have a favorite song: 'Always on My Mind,' the Willie Nelson version. If I could sing it like he do, I would sing it every night. I like the story it tells.
I think more obvious to others, is that I'm most vulnerable on stage. Even though I know which songs I'm going to play, I try and keep it loose and base my stage time more on what the audience is requesting of me.
You create a path of your own by looking within yourself and listening to your soul, cultivating your own ways of experiencing the sacred and then practicing it. Practicing until you make it a song that sings you.
[Bob] Dylan's many quotations from classic American roots music (that song is from an album aptly titled Love and Theft) join the aging poet to a tradition that preceded him and hopefully will outlive him as well.
Five mysteries hold the keys to the unseen: the act of love, and the birth of a baby, and the contemplation of great art, and being in the presence of death or disaster, and hearing the human voice lifted in song.
I'm a songwriter. So I'm OK. But when I wrote "Stand By Me" as a song and to know that the song will probably be here for hundred and hundreds of years to come, it's great, you know. And it was just simple lyrics.
Songs used to be short, then they became longer, and now theyre getting shorter. But otherwise, music is about a beat and a message. If the beat gets to the audience, and the message touches them, youve got a hit.
They had met at a club fifteen years before, Etta and Magnus. He had convinced her to dance with him, and she said she had been in love by the end of the song. He told her he had been in love before the beginning.
Lack of feeling in an emotional sense is responsible for the way some singers do our songs. They don't understand and are too old to grasp the feeling. Beatles are really the only people who can play Beatle music.
With my songs, the question is always, 'Can you pull it off live, alone on just an acoustic guitar?' That's the litmus test. If I can, then it's a song I ought to record. If I can't, it's probably not good enough.
A lot of people got something to prove. If I had something to prove, I proved it already, so why do I have to go showboat? Like, I don't say I got the hottest song in the world. And, personally, I think otherwise.
Music always has to do with vibrations for me. I love to record everyone's heartbeats, in way. None of us beats at the same pace and a song is a magical moment where different entities, for a split second, meet up.
I wrote a cheesy love song - called "Tender Torture". I guess it's more of a song about being away from someone that you love. It's pretty strange. It's sincere, I guess. It's actually something that I really felt.
And I’ll tell it and think it and speak it and breathe it And reflect it from the mountain so all souls can see it Then I’ll stand on the ocean until I start sinkin’ But I’ll know my song well before I start singin
Cornelius Cardew's folk songs were very, very literal, and they were just about workers smashing their chains. It was like reading Das Kapital over a folk-song melody, and it's a spectacular failure, in my opinion.