Song Quotes - Page 177

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If you play "I Don't Want To Know" by Fleetwood Mac loud enough -- you can hear Lindsey Buckingham's fingers sliding down the strings of his acoustic guitar. ...And we were convinced that this was the definitive illustration of what we both loved about music; we loved hearing the INSIDE of a song.

I did my last year of high school as an exchange student. I lived south of the Atlanta, in a quite strange place - real southern. I formed my first band that year and we just started playing my songs live. It was way in for me to get to know people and to really feel at home there - through music.

I will always believe in love and I don't care what happens to me or how many times I get my heart broken, or how many breakup songs I write, I'm always going to believe that someday I am going to meet somebody who is actually right for me and he's going to be wonderful and it's going to work out.

Black Americans should be given credit for finding probably the perfect weapon; the weapon of the song. And that song continues. Most holocausts don't, so they have this bitterness left over. The phenomenon of the world, as far as Black Americans are considered, is that we are not a bitter people.

I know some people really try to avoid music when they're writing and recording, but I am very inspired by so many different musicians, and I need to learn. I sit around and try to play along to certain songs that I really love. It helps you explore new territory. I don't think I listen to enough.

I was writing with different people in Nashville - whoever I could. Eddie Hinton came on the scene about 1963, and about four years later we wrote a ton of songs together. I drifted around, but Eddie and I had some cuts through the '60s and '70s. I went on the road with Kris Kristofferson in 1970.

A heartsong doesn't have to be a song in your heart. It doesn't have to be talking about love and peace. It can just be your message. It can be your feeling. Some people might even call it a conscience, even though that's not really what it is. It's your message, what you feel like you need to do.

Self-expression is a hallmark of an artist, of art, to get something off one's chest, to sing one's song. So that element is present in all art. It is the key to even standing up and saying, "Hey, listen to me." Self-expression can be based on looking at the world and making observations about it.

Celtic music is part of the language in Scotland and Ireland, where every kid and grandparent knows those songs, music by the likes of Woody Guthrie and Hank Snow is getting entrenched here. They are part of our cultural language. It's part of a living treasure. It doesn't just belong to a museum.

Like the song "Stereo", to me that's like, kind of hip-hop in that slacker way. There's some slackerisms mixed in with that stuff, but it wasn't really conscious, I guess. When things would get more typical rock'n'roll that was my fallback to go to those kind of lyrics instead of the alternatives.

The falling leaves drift by the window The autumn leaves of red and gold.... I see your lips, the summer kisses The sunburned hands, I used to hold Since you went away, the days grow long And soon I'll hear ol' winter's song. But I miss you most of all my darling, When autumn leaves start to fall.

I've never written a song that's hopeless. I'm not a hopeless person. I'm crazily optimistic. I crazily see the good in people. - singer Michael Stipe of R.E.M. Focusing on the tiniest details, finding magic in even the smallest inspirations, embracing the briefest moments-that's where passion is.

Because too many times in life there's just one person that I met, just one thing that I heard, one movie that I saw, one song that was sung, that changed my life. So I'm always trying to stay awake to be in the moment, and capture the moments when they come, because they come and go all the time.

I continue to write songs that are topically related to social, political and economic issues of our time, but I also recognize that onstage, I have a lot of fun and audiences have a lot of fun, so I'm trying to package the messages in music and sounds that are fun to perform and fun to listen to.

The movie business is very difficult but the music business is just impossible. So I'll play in bands and record and play songs with other people, but for me it's a form of expression that all I need is me. I don't need cameras or agents, I can just have a piano and sing and feel totally verified.

Yoga has had a profound effect on my songs and performances. I don't meditate in the traditional style of sitting and doing nothing. I prefer the zen of paying attention, such as the meditation of yoga flow, or walking meditations. I also consider singing, surfing and gardening to very meditative.

In Homer and Chaucer there is more of the innocence and serenity of youth than in the more modern and moral poets. The Iliad is not Sabbath but morning reading, and men cling to this old song, because they still have moments of unbaptized and uncommitted life, which give them an appetite for more.

I can remember when I was just, like, about four years old in Compton, and my mother would have me stack 45s, stack about ten of them, and when one would finish, the next record would drop. It was like I was DJ'ing for the house, picking out certain songs and so this song would go after that song.

I decided at 15 that I didn't want to be one of those artists that gets up and sings love songs they don't mean. I decided that I was going to be me to the fullest extent, that my songs were going to reflect relationships I've had, things I've been through, and even the stuff I'm embarrassed about.

It's funny when you write a song - it's easy for me now - but there's almost a second stage where you take control of the song. You start writing it, and if you're not careful, it just finishes itself and it might not be what you wanted. It's very strange, it takes over itself. It has its own life.

I think the best songs that come to me are ones that you sort of listen for. The ones - when I listen to some of my old stuff, I can tell when I had a good idea, but I forced it through, and I can hear myself - the bit that I've written, which sounds clunkier than the stuff that just sort of comes.

I watch artists say they wrote all these songs and don't mention anybody else who was involved, and that's fine. I don't expect an artist to give me credit. I know that they're gonna take the credit for everything. But, it's my job to give myself that exposure and not make excuses, not grow bitter.

Just because you're a star on television doesn't mean that you can be a music phenomenon or an artist. You have to have the material to back it, and it's all about hit songs. I can name you every "Idol" winner and why they didn't go on to have success - their songs. The ones who have - their songs.

Usually I start with a beat, I start making a beat, and my producer side is making the beat. And on a good day, my rapper side will jump in and start the writing process - maybe come up with a hook or start a verse. Sometimes it just happens like that. A song like 'Lights Please' happens like that.

Hawkwind are one of those bands that people introduce you to because you don't see them on the covers of magazines. I'd heard 'Silver Machine' but Russell Senior, who was in Pulp, got me into them. They had a song called 'Master Of The Universe' and we nicked the title in 1985 for one of our songs.

The song is celebrating someone's life. When someone passes, you should focus on all the good that that person has done, and try not to really think about the fact that they're not gonna be on this earth any longer, that they had an effect on you and your lives, and that's what you should take out.

There's the famous thing that the A&R man from the record company is supposed to do: He's supposed to come into the studio and listen to the songs you've been recording and then say, 'Guys, I don't hear any singles.' And then everybody falls into a terrible depression because you have to write one.

If you love a person, you say to that person, "Look, I love you, whatever that may be. I've seen quite a bit of it and I know there's lots that I haven't seen, but still it's you and I want you to be what you want to be. And I won't be happy if I've got you in a cage. You'd be a bird without song."

I wanted to be different and original but still have it be something my fans could get into. There also are some big, beautiful ballads. I told my producers that I wanted tracks that are going to blow up in the clubs, but I also wanted songs that were very melodic and with a lot of instrumentation.

I like interacting with human beings, so being on stage feels like a larger version of that - kind of like throwing a party. It's like knocking into the human collision of everyday life and it just so happens to break down the wall between the audience and me and helps the songs communicate better.

Making a record's a real fight for me. I'm constantly fighting with this thing inside of me that says I should be sitting in a room with Matthew Shipp or I should have Han Bennink on drums or this song should be playing for the next 20 minutes in my head, not a silly little pop song. It's constant.

They are children, Sansa thought. They are silly little girls, even Elinor. They’ve never seen a battle, they’ve never seen a man die, they know nothing. Their dreams were full of songs and stories, the way hers had been before Joffrey cut her fathers head off. Sansa pitied them. Sansa envied them.

It never really interested me in the past but, for the first time, I wanted to make a pop record. I thought a good way of doing it would be to make songs that didn't really make sense to me as songs; songs that I couldn't just sit down and play in front of someone and then get them to play over it.

I am not a historian. I happen to think that the content of my mother's life - her myths, her superstitions, her prayers, the contents of her pantry, the smell of her kitchen, the song that escaped from her sometimes parched lips, her thoughtful repose and pregnant laughter - are all worthy of art.

You have record companies that sign acts that they think are great, and then they never do anything. Acts that they don't think are really going to do much end up having a career. I don't think anyone really knows what it is that drives somebody to get on their computer and want to download a song.

Daily dawns another day; I must up, to make my way. Though I dress and drink and eat, Move my fingers and my feet, Learn a little, here and there, Weep and laugh and sweat and swear, Hear a song, or watch a stage, Leave some words upon a page, Claim a foe, or hail a friend- Bed awaits me at the end.

All of the guys love to take serious topics and go for it; we're not writing a whole lot of love songs. With 'Sacrificed Sons,' we had some sensitivity there about how we'd present it. I remember there was a lot of discussion about the kind of words that would be used and how direct we wanted to be.

The songwriting style, to me, is superior. There was a certain amount of joy in it, no matter how sad the song is. You get joy in listening to these Buddy Holly or Roy Orbison sad lyrics. I'm attracted to songs that have balance between the darks and the lights and giving them all equal opportunity.

The perfume of the flowers and of the bay tree are wafted on high, like incense. The birds sing sweet songs of praise to their Creator. In the tops of the trees, the soughing of the wind is like the hushed prayers of the multitude in some vast cathedral. Here the heart of man becomes impressionable.

Martin, Dave, and I get together and rough out a few songs and put them on cassettes for some reference...With the actual music, I'm not interested in objectivity, quite the opposite. I want a solely and totally subjective experience...A lot of pop music is about stealing pocket money from children.

It takes so many people to make a success story like that. It starts with the song and the songwriters, then Mark Wright's producing, all of the players that played on it, me singing, the marketing department, the promotion department at the label... It takes a lot of people to make a hit like that.

Heart of my heart, the world is young; Love lies hidden in every rose! Every song that the skylark sung Once, we thought, must come to a close: Now we know the spirit of song, Song that is merged in the chant of the whole, Hand in hand as we wander along, What should we doubt of the years that roll?

I say, 'Yeah, Taylor Swift.' I think she is a smart, beautiful girl. I think she's making all the right moves. She's got a good head on her shoulders. She's surrounded with wonderful people. Her songs are great. She keeps herself anchored. She knows who she is, and she's living and standing by that.

You want to have a song that people will listen to and go, 'Oh, yeah! That reminds me of something in my life,' or, 'something I'm currently going through,' or maybe something happens later and you hear the song and go, 'Wow! That really was telling a story that I can relate to now.' That's my hope.

We enjoyed the fact that we were called to the folk festivals and we got to know Joan Baez, Dylan. We were singing strictly gospel, but then after we started hearing songs that they would sing, we saw that those songs were very fitting for us because they were singing the truth, and truth is gospel.

A cupcake is like a great pop song. The whole world in less than three minutes. And it's impossible to have a bad cupcake. In New York you walk everywhere. So I'm always looking, always on the eternal search for the perfect cupcake. I take them very seriously. It's like hunting and gathering for me.

People worry about kids playing with guns, and teenagers watching violent videos; we are scared that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands - literally thousands - of songs about broken hearts and rejection and pain and misery and loss.

In the future, women will have breasts all over. In the future, it will be a relief to find a place without culture. In the future, plates of food will have names and titles. In the future, we will all drive standing up. In the future, love will be taught on television and by listening to pop songs.

There wasn't a lot of R&B cats doing songs at 120 beats per minute before 'Closer,' which I take full credit and responsibility for. That's all good, but it was an experiment. You experiment with something, if it goes good, cool, but you never forget where you come from and R&B is where I come from.

Portishead's production is just insane beats you would expect to be on a KRS-One album. But then there's this little white girl with an angel voice singing over it. It was a cool juxtaposition. I like 'It's A Fire.' That's a chill song with kind of a military drum thing going on, like a drummer boy.

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