Quotes of All Topics . Occasions . Authors
I started writing an album on flights to Africa and Brazil, but it was crazy because I left the notebook on the plane. It had seven or eight songs in it. After that, I'm not writing any more songs on notebooks - and I keep my Blackberry close!
I loved old black and white movies, especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs, the music, the romance and the spectacle. They were real class and I knew that I wanted to be in that world.
You can take back all the things you give, But you can't take back the days you live. Life is to some people who've been on earth Livin' every single day for what it's worth. I live life just how I please, Satisfy one person I know: that's me.
Come, and see the victories of the cross. Christ's wounds are thy healings, His agonies thy repose, His conflicts thy conquests, His groans thy songs, His pains thine ease, His shame thy glory, His death thy life, His sufferings thy salvation.
I don't think any of us felt like, "Oh, we need to put joke songs on the record." If we found something funny, we would record it, and if we wanted to, we'd put it on the record. It's not really something we spent too much time agonizing over.
Every modulated sound is not a song, and every voice that executes a beautiful air does not sing. Singing should enchant. But to produce this effect there must be a quality of soul and voice which is by no means common even with great singers.
Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
I wanted to focus on songs that I was inspired by growing up. I love so many of them from the last 100 years, but I really wanted, for my first step forward, to choose material that has inspired me and got me into the world of musical theater.
But we will play 6, 7 new songs each evening, approximately a third in the concert. I think it's a good balance. It will be very interesting to see the public's reaction. But i think when we'll play the very first new piece, we will be scared.
I've never really been nervous about any concerts. I enjoy it so much. All that matters is getting the songs played well, trying to get them to sound as close to the record live, which isn't easy, because my music is quite complicated to play.
Also, any older song, especially any World War II songs remind me of Mama. She goes around the house either whistling or singing all the time. It drives my sister Alice crazy when we're playing games and Mama does that while it's Alice's turn!
Since the songs were written over a five-year period, I think these are little snapshots. Some people call it political or topical, but I think each song is self-contained. I think it fits together as a picture of the last half-decade of time.
I got signed with the songwriting deal when I was sixteen and they were really great - my publishers, who to this day are still my publishers and are like my musical family, my second family - they took me in and taught me what a good song is.
Grow strong, my comrade … that you may stand Unshaken when I fall; that I may know The shattered fragments of my song will come At last to finer melody in you; That I may tell my heart that you begin Where passing I leave off, and fathom more.
In my music career, I never was interested in working and writing and creating songs based on what kind of rewards I could receive in return - a hit song, per se, is what most contemporary artists have to deal with when they deal with a label.
The Way Of The Fist' is not quite a Shakespearian depiction of anger and revenge. This song was more my way of releasing all the pent up aggression I felt against some people who wronged me beyond the point of any kind of forgiveness or mercy.
A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things - or you'll have to search more to find the interesting things. But I also think it's exciting.
I wrote 90 percent of the record in prison. A lot of people wonder, "How the hell did you do that?" I just pretty much played drums on my legs with my hands and while I did that, I would hum the guitar parts and sing the melodies of the songs.
'Brand-Dropping' is the term that the Kluger Agency coined to describe discreetly advertising by product mentioning in song, and we feel we can make this the way of the future without jeopardizing any artist's creative outlet or typical style.
My voice is my instrument. ... It is not in the throat, from where it appears to come. It is in my feet and how they touch the floor, in my legs and how they lift and sink with the rhythm of the song. It is in my hips and belly and lower back.
When I first started making music, it was learning other peoples songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
No one's ever done one of my songs badly. People say to me, "God, so-and-so wrecked that song." Well, I'm unaware of it. Anybody doing one of my tunes has earned my gratitude, and I don't get that many covers where I have the luxury to choose.
I can't speak for everybody, I think, for me, I will not be defined by the lyrics of my song. I am a man who does music. It's like clothes don't make the man, the man makes the clothes. It's, it's like that song don't make me, I make the song.
When I was a teeny little girl, I was in dancing school, and I sang. We had to put a dance to a song, so I went to the 10-cent store one day and looked at all the sheet music. It was all laid out, and I picked 'Life Is Just a Bowl of Cherries.'
Attempting to write vocal oriented songs to me felt like going through the motions and if you are going to go through the motions you might as well just do any gig that caused you to do repetitive motions like banging a hammer or serving fries.
All these different groups of people that are put right in the path of billions of dollars of American tax payers' money. If I had enough time I could have named all of those people [in the song], too! The song would have been 400 minutes long.
I operate in such a vacuum. I write by myself, it's a very solitary experience, and I'm not used to, I've never had a label or anyone to say, "We wanna hear a single, we gotta come back and retool some of these songs until they're more catchy."
Between the Dinosaur Jr. albums and his recent solo albums, 'Several Shades of Why' and 'Heavy Blanket,' J Mascis is emerging as one of the last men from all that '80s indie madness, still writing songs that you want to listen to over and over.
Music and songs have always been a constant part of my life, and still are. My brother Michael, who is a songwriter and composer, is the one who most fully inherited the musical legacy of our family, but I got some part of it - mostly the feel.
I don't mind him not talking so much, because you can hear his voice in your heart; the same way you can hear a song in your head even if there isn't a radio playing; the same way you can hear those blackbirds flying when they're not in the sky
There's that kind of song, "Whoah baby, I love you," which doesn't have a visual element, but a very strong emotional element, and these are the great songs to me - those ones that you put them on and they just make you feel great, or whatever.
I've learned that people latch onto labels and stereotypes. There was a period when I was asked in every single interview how I liked being the new Frank Sinatra... I think people will soon realize that I do a lot more than interpret old songs.
Ever since I can remember, I've always wanted to tell stories, but I never had the patience to sit down at a typewriter and write short stories or anything like that. I started writing songs as a way of communicating ideas the best way I could.
I think, whatever mortals crave, With impotent endeavor, A wreath--a rank--a throne--a grave-- The world goes round forever; I think that life is not too long, And therefore I determine, That many people read a song, Who will not read a sermon.
Brian Hyland just happened to be playing in our town and that song [ "Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini"] was really big. And I got to go back by the stage door, and he autographed a piece of paper for me and I just, I went crazy.
The sun rose yellow as a lemon.The sky was round and blue.The birds looped clear water songs in the air.Will and Jim leaned from their windows.Nothing had changed.Except the look in Jim's eyes.Last night. . . said Will. Did or didn't it happen?
I want a love like Johnny and June Rings of fire burnin' with you I wanna walk the line, walk the line Til' the end of time I wanna love, love ya that much Cash it on it give it all up And baby when your gone I wanna go too Like Johnny and June
There is no God, but there is certainly a quality I call godliness. It comprises compassion, love, friendship, joy, creativity. It brings you new songs, it brings you new dances. It brings you the truth, and the immersion of you into the truth.
I was probably about fourteen I think, and probably like every boy who's fourteen that writes a song, it was about a girl. It was about a girl who I really liked, but she didn't like me as much as I liked her. I think most guys go through that.
Sinatra is the essence of vocal style. This man has an innate quality of knowing what is good musically. You can sum that up best by saying that he has musical integrity. Even when he does a bad song, there's a good quality in the presentation.
Being a creator of a song I get to take all these broken fragments of failure and chaos and weave together something beautiful and meaningful. Decay. Death. Pain. Fall. And if God is a songwriter then these fallen leaves of mine can be redeemed
Alan Lomax is the person who I think should be given major credit for what has been called the "Folk Song Revival." My father participated with him because my father was a musicologist and urged trained musicians to learn about "the vernacular."
Often I don't know what the song means until it's finished. Sometimes months later. I don't think that's bad. It implies that I don't know what I'm doing but-I think if you're able to follow your instincts, then that's knowing what you're doing.
It's a real gift to be able to have the works of brilliant, great people to learn from and build from. It gives you so much more to draw on, and then you don't have to be all about three-chord pop songs. I don't really like that kind of writing.
'I Won' is not a love song. It's just me uplifting women in general. I'm giving women the power to treat themselves as a trophy - to show that and know it in yourself and be confident - because when they do that, whoever they're with is winning.
If I can entertain people and get them to open up a little bit, then they're much more conducive to any ideas I might have, whether they're about relationships or politics. The most interesting songs, I think, are the ones where the two overlap.
I often use music as a handle for very emotionally explosive substances: love, sex, God, fear, doubt, politics, the economics of the soul - these are daunting thoughts in the back of my mind that I rarely visit without the safety gloves of song.
Well, the problem I've had with all the interviews I've had in America - I had meetings with about nine labels - and they all say to me "Will your new songs fit in with what is popular and what is in the chart?" And I say "Good God, I hope not!"
I was in the recording studio when Pink was recording for a part of the gay rights anthem. It was just amazing to watch her perform. She's just such an incredible singer. She so funny, and so smart, yet she's doing it for this silly, silly song.
When I'm doing a drawing, I get lots of ideas I use them in my songs, even. I do a lot of drawings because that's where I get most of my spending cash and I just always have to have new records, to get something to satisfy my listening pleasure.