Quotes of All Topics . Occasions . Authors
It's just for some reason I've got just as many fans that only like me when I'm yelling or being funny or whatnot, and jumping up and down on a pogo stick while playing a fancy lead guitar. And they get mad when I sing a heartfelt emotional song and if there's an album full of them.
I had a vague idea of the song's impact in the '60s, but that was tempered by the hate mail and threats I was receiving. It was only about ten years ago, when I finally put it back in my show because so many people were asking for it, that I understood 'Society's Child' real impact.
I was being musically mentored by a lot of people who were obviously more talented and skilled than I was, and I thought that I would just kind of learn the ropes of songwriting there - like how to do acoustic, country-esque songs, which I like because there's so much story in them.
It's a kind of de-familiarization in relation to the song: if she were to sing absolutely straight, right on the beat, because of the richness and intensity of her instrument - her voice - I think it could actually feel a little inhuman, too good somehow, separate from our concerns.
'Mean' is a song I wrote about somebody who wrote things that were so mean so many times that it would ruin my day. Then it would ruin the next day. And it would level me so many times, I just felt like I was being hit in the face every time this person would take to their computer.
When you`re onstage you have a certain faith that somebody's gonna yell somethin' back. Some nights it's louder than other nights and some nights they do, and on some songs they don't. But that's the idea. I think when you begin to expect a reaction from an audience, it's a mistake.
George Jones was a big, huge name in our household. George Jones-he is considered country, but in every genre he is known. Everybody knows George Jones. But George has such a unique voice. And he made such timeless songs, like "Color of the Blues", just real hard-core country stuff.
For the May Day is the great day, Sung along the old straight track. And those who ancient lines did ley Will heed this song that calls them back... Pass the cup, and pass the Lady, And pass the plate to all who hunger, Pass the wit of ancient wisdom, Pass the cup of crimson wonder.
Usually, I make a simple beat, throw in the acapella, and then I just improvise on the piano. Whatever comes up, I record the result, and I rework on it. Sometimes it takes a while to come with an idea, but mostly it comes naturally because I already have a connection with the song.
I was raised really strongly on The Beatles; they were huge in my family, my parents loved them, and they used to quiz me on who was singing which song, and we'd play certain records for certain events, and things like that. So I mean, they were sort of my introduction to pop music.
Whenever I hang out with my female friends, I feel like context is never needed. They can just say two words about something, it's like hearing the first two notes of a song and you can always identify the song. They can just say a word and I know exactly what they're talking about.
Only a fool wants war, but once a war starts then it cannot be fought half-heartedly. It cannot even be fought with regret, but must be waged with a savage joy in defeating the enemy, and it is that savage joy that inspires our bards to write their greatest songs about love and war.
My songs examine and explore little specific emotions or situations or stories... They're kitchen table songs, like a conversation between me and one other person. It's almost like an alien has been sent to get emotional samples from human beings and put it all together on a record.
It's funny when you start writing an album and then recording - the songs begin to take on a spirit of their own. Once you start to perform it live, this happens even more so than in the studio. They really start to develop a personality that takes shape over time with the audience.
(The Song Remains The Same) is not a great film, but there's no point in making excuses. It's just a reasonably honest statement of where we were at that particular time. It's very difficult for me to watch it now, but I'd like to see it in a year's time just to see how it stands up.
Country Music has always changed for the times, if you listen to the recordings from the 50's to 60's to 70's, to now, the message is still there, basic down to earth songs about real people, it the music that's been updated. Some of it I like, but still prefer the traditional sound.
Yeah and she's my kinda crazy The little games she plays Lord they'll never get old She's too cute to get on my last nerve The way she throws her little fits Pokin' out her lip and bitin' mine when we kiss There ain't a fight that she can't win That's my baby And she's my kinda crazy
That's how it all started, when I met my wife. My music career, even though I started when I was 16, it never really started till I was like 30, when I started singing and writing my own songs, and that's when it really took off. But prior to that, I was just doing a bunch of covers.
My grandfather lived across the garden from us, and in his attic he had a lot of radios, appliances and inventions that he had made over 50 years, such as a keyboard called a clavioline, which can be heard on some Beatles songs - it was popular in the 60s. So we had all that at home.
We've played it [Milquetoast] a million times. When you play a song that much you sort of become disconnected with the lyrics. It's just another song essentially about people's opinions and being told how to live your life even though they may have less life experience than you have.
We met Ferg at one of our shows in L.A. She gave us her number. For the song 'Shut Up' on Elephunk, we needed a vocalist. Someone said 'yo, remember that white girl - we should get her in the studio.' Since then, we've become friends. She's one of the guys now, she isn't just a girl.
Worship is so much more than the songs I sing. Instead, worship is in the heart that lifts the song. If you think about it, worship began when I woke up this morning. My life purpose is to give God glory through everything I do. If my life does not worship Him, my songs don't either.
Traditionally, an engineer is responsible for capturing sound - microphone choice, gear, etc. A producer can have a number of different responsibilities - anything from songwriting to judging performances - setting mood, and (perhaps most importantly) choosing which songs to work on!
Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who's connected with it, the studio's gone, the musicians are gone, and the only thing that's left is this recording which was only about a three-minute period maybe 70 years ago.
Basically I see that song as a bunch of images which I threw together to represent the fact that I was seeing one girl and then I started seeing another, and it was just the guilt in between those two periods. The ballads I've written since have been about things that really hurt me.
Well I'm not a storyteller, as far as telling stories which relate to experiences in my own life. That's not what I do. I write songs which have a narrative and attempt to make sense and tell a story - sure! But whenever I hear the word "storyteller" I think of a children's musician.
Willow [Smith] started making music first. I was like, "My younger sister is, like, 4, and she's making all these fire songs. What's happening?" Willow was doing all these things, about to have record label deals at like the age of 6, and I was like, "I feel like I'm underachieving."
You see so many of these empowering songs where a woman saying, you know, I'm going to go out, I'm going to wear high heels, you know, short skirt or whatever. But the high heels are quite uncomfortable, and so how good about yourself are you really feeling walking out in high heels?
We're not playing your typical guitar tuning, so there is no normal chords for us to get our footing with. We're pretty much making it up as we go as far as the sounds we're creating. Oftentimes, the song will be inspired by just a certain kind of block of sound that somebody creates.
If you told me to write a love song tonight, I'd have a lot of trouble. But if you tell me to write a love song about a girl with a red dress who goes into a bar and is on her fifth martini and is falling off her chair, that's a lot easier, and it makes me free to say anything I want.
in the last month or so, i have read the great gatsby and a separate peace. i am starting to see a real trend in the kind of books bill gives me to read. and just like the tape of songs, it is amazing to hold each of them in the palm of my hand. they are all my favorites. all of them.
I wrote the song "Show Me" as a prayer to God asking simple, honest questions about life and death and why there is so much suffering in the world. As I grew with the song I realized I shouldn't limit these questions solely to God; I should ask those questions of others and of myself.
Sometimes, I actually end up doing three or four different versions of one song, and sometimes, those versions can be done very differently. They can be very laid back, downtempo, or sometimes the same song can be quite uptempo. But it is always the same melody and chord progressions.
We worked the medley on side two of "Abbey Road" out carefully in advance. All of those mini songs were partly completed tunes; some were written while we were in India a year before. So there was just a bit of chorus here and a verse there. We welded them all together into a routine.
Behind the violence of the birthing of galaxies and stars and planets came a quiet and tender melody, a gentle love song. All the raging of creation, the continuing hydrogen explosions on the countless suns, the heaving of planetary bodies, all was enfolded in a patient, waiting love.
It's important to me that people feel connected to the band through the music, you know? I don't want it to be wallpaper. I don't want it to be background music. I want it to be clear: This is the song. These are the words. If you feel the same way as I do, sing it as loud as you can.
I think music is an intuitive force. It's this beautiful wave that connects all of us and inspires us, and I think music has the ability - when you listen to a song, you're not immediately thinking about the lyrics or what's going on in the mind of the writer, you're feeling the song.
I am bigger and stronger than ever. My Chen Taiji and health regimen has served me well all of these years, thanks to Master Ren Guang-yi. I look forward to being on stage performing, and writing more songs to connect with your hearts and spirits and the universe well into the future.
I don't care who you talk about down south, Boosie gonna win. I'm the only one to put out a whole album, with more songs, so I don't care who said what. The fans tell the truth. I got real fans - more fans than everybody, so Boosie gonna win [in Hip Hop Survivor: Down South Edition.].
I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.
...and like a fool who will never see the truth I keep thinking something's gonna change There's a danger in loving somebody too much And it's sad when you know it's your heart they can't touch There's a reason why people don't stay who they are Baby sometimes love's just ain't enough
I don't really know how writing process happens, how these songs are arrived at. One of the things I like about the writing process is, I don't necessarily know where it's going, and even if I think I know where it's going, it'll turn out different. I find that exciting and rewarding.
I was pretty shocked [having concert in the Madison Square Garden]. It could have gone either way. But I think it's the right time. Nobody does what we do with taking the visuals and making it a complete rock 'n' roll show with the really good songs. Nobody's done that in a long time.
Personally, the songs that I've written, when they arrive to the Café Tacvba group , they become something more. Some begin to take spiritual aspects, political aspects, aspects that I had not initially put into the song. I think that's something magical that happens in our creations.
Once I re-approached music I had to do it in a way that wasn't so personal for me to feel comfortable releasing it into the world. Well, of course some of them are, but I would never talk in an interview about exactly what a song is about. I like to keep my music and my life separate.
She’s got an indiscreet voice,” I remarked. “It’s full of-“ I hesitated. “Her voice is full of money,” he said suddenly. That was it. I’d never understood before. It was full of money-that was the inexhaustible charm that rose and fell in it, the jingle of it, the cymbals’ song of it.
One thing I've found that I can do that I really enjoy is rereading my own writing, earlier stories and novels especially. It induces mental time travel, the same way certain songs you hear on the radio do ... the whole thing returns, an eerie feeling that I'm sure you've experienced.
When the simple word processors came in, writing became crisper, less dense - just because of the way we could instantly edit on the screen. Now the ability to mash up words and pictures and links and songs and tweets is what matters. I can't imagine what writing will be like in 2154.
I remember, when I was a kid, listening to the radio and hearing 'Big Bad John' by Jimmy Dean - and it just blew me away. I used to sit there and call the radio stations and request that song. And then the Beatles were obviously out already, but I really didn't know about the Beatles.
The way I write my songs is that I have to believe what I’m writing about, and that’s why they always end up being so personal - because the kind of artists I like, they convince me, they totally win me over straight away in that thing. Like, “Oh my God, this song is totally about me.”