Quotes of All Topics . Occasions . Authors
I have so much music that I do. Just like how a visual artist is always sketching something but they might not share it, I'm always writing songs or coming up with melodic lines on piano or guitar. It's therapy. It's always happening.
I suspect many readers might associate [Bob Dylan] with one of the shortest phases of his career, the time from 1963 to '65 when he wrote his most famous "protest songs," like "Blowin' in the Wind" and "The Times They Are a-Changin.'"
Perhaps when the light of heaven shows us clearly the pitfalls and dangers of the earth road that led to the heavenly city, our sweetest songs of gratitude will be not for the troubles we have conquered, but for those we have escaped.
It's very cool for me to be able to get in an airplane and fly for fourteen hours and show up in a place I never thought I'd ever be and have kids in the same room singing these songs I'd written so far away. To me, that's so surreal.
'As Long As I Know I'm Getting Paid' is a satire. Lyrically, I want to be direct. With my history in Fall Out Boy, there's some expectation that I'm going to be lyrically obtuse. But that song is a straight-faced satire of consumerism.
I sing songs from the theater and pop songs. When I say 'pop songs,' I mean from the 90's. And I tell jokes. So it's sort of a stand up show meets a concert - not your traditional lounging across a piano cabaret show. It's much looser.
My mum's an opera singer: I grew up watching her get swept up in music and transform herself into characters. She taught me that music is a lifelong journey, and that with every day and every song and every gig you learn something new.
Playing on the streets of Iraq, or in Israel or the Gaza strip, I'd sing angry protest songs against war. People would say, 'Make us clap, make us dance, and laugh and sing.' It really made me think about the importance of happy music.
There is a limited supply of excellent songs, but I am not the only one. Paul McCartney, one of the best songwriters of all time, has only produced manure for the past 25 years. Rock musicians over 30 only produce unimportant material.
I'm always looking for great songs, and not being much of a songwriter, I depend on great songwriters to send them to me. I go through tons of stuff, and sometimes you just find material that kind of fits and becomes something special.
Music rhythms are mathematical patterns. When you hear a song and your body starts moving with it, your body is doing math. The kids in their parents' garage practicing to be a band may not realize it, but they're also practicing math.
I learned by transcribing songs out of the Library of Congress collection in Washington where I was working. I got a job when I just turned twenty in 1939 and Alan [Lomax] needed some help. I listened to hundreds of records every week.
Whether it be current or past, every single song that I recorded is about me. It's a peek into my life, past and present. Maybe it's coming from my theater and performance background, but nothing felt right unless I could relate to it.
People can have political opinions and put them into songs. I'd never deliberately do that, but that's a personal choice I'm inspired by my man but not by his previous position. I'm more inspired by people that are left out by society.
My songs are personal music, they're not communal. I wouldn't want people singing along with me. It would sound funny. I'm not playing campfire meetings. I don't remember anyone singing along with Elvis, Carl Perkins or Little Richard.
A song was heard at Christmas To wake the midnight sky: A saviour's birth, and peace on earth, And praise to God on high. The angels sang at Christmas With all the hosts above, And still we sing the newborn King His glory and his love.
I've always felt that the game itself is pretty much a melody and I am there to provide the lyrics. You want the lyrics to match the melody, because if you are composing a song or recording a song, it's cacophonous if they don't match.
I was never a kid who dreamt of being a performer. I started singing the songs because nobody knew who I was or cared at all. If I wasn't going to sing them, nobody was going to sing them, so I had to step in and fill that role myself.
I was wanting to do an album but I didn't know if I was really ready. Jerry Wexler was one of my closest friends and allies, like my godfather. He said, "Let's do an album." I couldn't sing worth a damn, but there were some good songs.
Some of the press who speak loudly about the freedom of the press are themselves the enemies of freedom. Countless people dare not say a thing because they know it will be picked up and made a song of by the press. That limits freedom.
You know, a song is like a kid. You bring it up. And sometimes something you thought was going to be fantastic, by the time it's finished, is a bit of a disappointment...Beyond a certain point, the music isn't mine anymore. It's yours.
I don't think there is any such thing as a song that is completely great or good. A lot of songs becomes massive hits that are just mediocre, and other times there are incredible songs that never get anywhere and you always wonder why.
With my records, it's just a matter of trying to create something fresh for myself in a very finite context, which is the pop song. I don't know anything about the people who buy my records, and what, if anything, they get out of them.
For many years, I shut down that place inside myself that needed to rage, cry, ask questions and basically just express herself. I made a conscious choice when I put (the song) 'Me and a Gun' on the record not to stay a victim anymore.
Faith of Cranes is a love song to the beauty and worth of the lives we are able to lead in the world just as it is, troubled though it be... The writing is honest, intensely lived, and overflowing with heart: broken, mended, and whole.
I have never been able to remember the number of my driver's license, and there have been times when I couldn't even remember my own telephone number, but when I hear a song, sometimes only once, I never forget the melody or the lyric.
I can’t tell you what that first song was about. Something about love and a boy and a girl… And this boy can think of nothing but holding that girl’s hand in the darkness... All those ridiculous songs about love - I finally understood.
I don't want to sound like I'm trying to be too deep about it, but when we play shows, music takes everybody on their own journey - because one song might mean something to me, that means something completely different to someone else.
I started playing the bass because nobody else would play the bass, and then I got bumped up into singing because no one else really wanted to sing. So I learned how to sing and I wrote the songs, so I tended to get the most attention.
I think when you're in the early stages of writing a song, it's important to shut off the part of your brain that tries to edit or criticize. That function comes in handy later, but if you let it in too early, you can trip yourself up.
You're always frustrated, you don't have the chance to do a song on the album, like the Beatles did with Ringo and George, or like Led Zeppelin, where everybody was given a chance to contribute. There never is a chance with the Stones.
These songs are old friends I have entertained myself with when I'm washing the dishes, driving to the store and walking down the aisles. The ones that you sing when you're driving in the car and as a singer you always go back to them.
Sitting in a room, alone, listening to a CD is to be lonely. Sitting in a room alone with an LP crackling away, or sitting next to the turntable listening to a song at a time via 7-inch single is enjoying the sublime state of solitude.
I've always felt my spirit animal was a Tiger, so it's funny that now in 'Roar' with Katy Perry - which is a song we write together - there's the line: "I got the eye of the Tiger..." So I feel like there's a little bit of me in there.
I went to Brazil in 2010 and pretty much did songs about that trip. I was there just to hang out, chill with the people, and feel the vibe. It was great - tons of great women, great skin, good beaches. Cant complain; the food is great.
Into love and out again, Thus I went and thus I go. Spare your voice, and hold your pen: Well and bitterly I know All the songs were ever sung, All the words were ever said; Could it be, when I was young, Someone dropped me on my head?
I still hear you humming, Mama. The colour of your song calls me home. The colour of your words saying, Let her be. She got a right to be different. She gonna stumble on herself one of these days. Just let the child be. And I be, Mama.
I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.
When I think of my art tribe - you know, my peeps - there are certain people who are autobiographers that I really love. But for the most part, overwhelmingly, my tribes are the surrealists and the storytellers, in song and literature.
I would have found something because I love to entertain people. I had the option to take the rest of the year off. But I said the songs on my last solo album, '24 Karat Gold,' mean so much to me. I need to get out there and sing them.
The songs that I'm able to write are the songs I'm able to write, whatever they may be. The path I've cut for myself is pop music - love-y pop music. That's what I enjoy doing. And I don't think I'm going to get sick of it anytime soon.
What will happen to the spirit of this ancient dreaming land without the great mobs of kangaroos bounding across the song lines, energizing the land? Will the sunset and dawn mourn the passing of the creatures who danced in their light?
What songwriting does better than almost anything is empathy - it's incredibly empathetic. The reason people sat around in bars when they were bummed out and listened to country songs is because it made them feel better in the long run.
Music will always be apart of my life, I have been given a gift of song and voice and I have to use it. I don't have a mapped out time when I should hang up my mic because what I may think is my time may very well be a time to continue.
C.S. Lewis says that fiction is able to sneak past the watchful dragons of religion. It becomes more powerful to speak in poetry. The song goes straight to the heart while the numbers and the math of it will never be able to reach that.
There's only one reason why you write new songs: You get sick of the old songs. It's not that I didn't do anything during the time when I wrote no songs. I was creative, but in another way. I had ideas for songs and collected the ideas.
That's how it is with relationships, it's a part of life, and all the great love songs and poems and films have been written by people who were standing where I was that morning as Simon shut the door. Doesn't make it any easier though.
That's another way of writing a song, of course. Just talking to somebody that ain't there. That's the best way. That's the truest way. Then it just becomes a question of how heroic your speech is. To me, it's something to strive after.
The idea of having one ensemble do everything is what was on 'Sea Lion' and that's what I tried to make happen for 'Metals,' which is having five people in the room and all of us contributing equally to every arrangement and every song.
'Oh, Daddy,' was a remake of the Ritchie Valens' song 'Oh Donna,' and I really like that one because it's a story of a pregnant woman who was dumped by her baby daddy, but she was always waiting for him. It's a sweet-and-sour situation.