Song Quotes - Page 187

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Pop songs are not as graceful as they used to be. Performers today haven’t gone through the regimen of learning how to write. And of course, everyone wants to own copyrights. Rap culture is interesting and different and has purpose, but it has a non-romantic view of life and of social feelings. There may be a void in that.

I love spin classes. I'm also very big on music, so I make a mix on my iPod that's 45 minutes to an hour long of music that pumps me up so I know how much time I've been at the gym without looking at the clock. Put your favorite songs towards the end of the mix, so this way you keep going until you hear your favorite song.

I had a song called "Folsom Prison Blues" that was a hit just before "I Walk The Line." And the people in Texas heard about it at the state prison and got to writing me letters asking me to come down there. So I responded and then the warden called me and asked if I would come down and do a show for the prisoners in Texas.

Peter stood, cleared his throat, and began to hum softly, then sing, slowly building up the song as his voice cleared. He found the old tune, the song of the Sunbird. And as he sung, as his rich voice echoed off the tall cliffs, the birds and the faeries lent him their voice and soon the tune drifted throughtout the garden.

I feel happy about the songs I've written. I'm a great lover of the craft of songwriting, and I sure admire it in other people when I see it - past and present. I feel comfortable with what I have accomplished. I feel happy to be able to work in that environment, and that I have a lot of songs left to be written, somewhere.

I love songs about horses, railroads, land, Judgment Day, family, hard times, whiskey, courtship, marriage, adultery, separation, murder, war, prison, rambling, damnation, home, salvation, death, pride, humor, piety, rebellion, patriotism, larceny, determination, tragedy, rowdiness, heartbreak and love. And Mother. And God.

I like to write about relationships. I like it when my friends come over and we crowd around the piano and sing Journey songs at the top of our lungs... And I like things that make me feel seven again. I don't ever look down on people for the way they choose to have fun; it's just not necessarily the way I like to have fun.

One of the songs that stayed in my head that I really considered a lot was an old folk song called 'John Brown' - not the abolitionist John Brown, but the one that Bob Dylan has covered and sung before. It's about a boy coming home from the Civil War, or maybe World War I even, and about his Mother seeing him all destroyed.

'Southern Accents,' I think that's one of my best, really. That would have been 1984, and I wrote that on the piano in the studio at home. I had a studio, and I just happened to be down there in the middle of the night. It was quite late, probably early morning, and I just started to play, and a song just started to appear.

Basically, I'm going to take what you did, the bare-bones structure of what you were trying to do, how you were attacking the song, and attack it in pretty much the same way, just with more intensity to show you that you could've come harder. Like, I've been in situations where I've had to tell a cat how to rhyme his rhyme.

I try to write a lot and my process is kind of back and forth. I procrastinate a lot so when I do sit down to write, I'm pretty lazy at it. And it's such a frustrating thing sometimes - writing - when you don't do it all the time, you get that thing in your head that you have nothing to talk about and you can't write songs.

As for me, I used to be a bird with a gentle white womb, someone cut my throat just for laughs, I don’t know. As for me, I used to be a great albatross and whirled over the seas. Someone put an end to my journey, without any charity in the tone of it. But even stretched out on the ground I sing for you now my songs of love.

"Born To Run," that expands every time we go out. It just seems to you - more of your life fills it in, fills in the story. And when we hit it every night, it's always a huge catharsis. It's fascinating to see the audience singing it back to me. It's quite wonderful, you know, to see people that intensely singing your song.

Before the Berlin Wall came down, we played behind the Iron Curtain and sang, 'Born in the U.S.A.,' and I thought, 'We're all going to die. The man is going to get us all killed.' But then you saw all these kids with the American flag and German flags together and singing the song, and it was, wow, like 'We Shall Overcome.'

Dad wouldn't let me fool with his guitar much, because I'm left-handed, and I'd pick it up upside down. But I remember learning to sing 'Paper Doll,' the Mills Brothers song - this was during the war - and I remember my dad taking me down to one of those little record booths where you could make spoken letters to send home.

John Farrar, my dear friend and songwriter/producer of most of my hits (he wrote "You're The One That I Want" and "Hopelessly Devoted to You," among others), wrote the song ["I Think You Might Like It"] and it captures so much fun and joy! Having that reunion as well, with John and John - made the project even more special!

Due to people's health, and certain things that have happened to people's physicality because of their healthy, that would probably keep us from touring per se. It doesn't mean that the original band wouldn't someday do a song. But our focus is on the current band, and moving into the future, as far as touring is concerned.

The next song I wrote in Paris years ago in a dream. So I didn't really write it, the universe wrote it. And that's what I believe about music, I believe it belongs to the universe, it comes from there and it's this beautiful energy that we share that transcends normal flash existence and that we inspire each other through.

I can't even speak Hawaiian, but if you go there and listen to a Hawaiian song, you get captured because it's so beautiful, like the melody is just gorgeous and you know Bob Marley is on the radio every single day. It's very reggae-influenced down there. Basically, you haven't been to paradise if you haven't been to Hawaii.

I like to bring my audience on a journey during my 90 minute concert. I will tell stories every few songs about the creation of a tune etc. and it gives the listener a glimpse inside my songs and then as you get to the last half hour you pick up the pace and work harder and get more into the show. It's all about stagecraft.

There's all kinds of those moments in your life where either through a weird set of circumstances, or a song you hear, or a smell you smell, or one person says something totally out of the context without the meaning that you assigned to it, but you snap back to the way you were when you were 14 or 15. We all deal with that.

The Pink Panther is legendary, but a lot of people my age haven't ever seen the original. So, I think it's great to bring it back for my generation, and to expose them to where that theme song which still sounds so modern and that legendary image of a pink cat came from. It's great to be a part of that, because it's history.

I feel like a lot of people in the hip hop world don't take me seriously as a rapper, and I feel that first-and-foremost I came up as a rapper before I started singing. All a lot of people know from me is 'Cupid's Chokehold,' and they don't scratch the surface and see beyond that dude who sings the song about his girlfriend.

I didn't really feel any pressure when I've made records, I haven't as yet anyway. I feel when I'm making a record that I'm so excited about making new songs that when I'm doing demos of new songs, as soon as I make one that's really different I get really excited about the record, I don't care about the last record anymore.

I work on words quite separately to music. They're both ongoing, and I don't ever feel like I'm working in a cycle in that respect, because it's every day anyway, no matter what I'm doing. Then I get to a point when I've collected together enough words that seem like they want to be songs rather than poems, or sometimes not.

A few years ago I appeared on GLEE and, Jane Lynch and I did a remake of the song that was very popular - someone told me it was in the Top 100 when it was released. First, walking on the set of GLEE the day we filmed it was surreal as they had recreated the entire original set from the music video. It was bizarre - but fun.

My whole teaching consists of two words, meditation and love. Meditate so that you can feel immense silence, and love so that your life can become a song, a dance, a celebration. You will have to move between the two, and if you can move easily, if you can move without any effort, you have learned the greatest thing in life.

Tone is an interesting question because part of the inspiration of looking to song is that Geisel himself - when you think about his animated version of The Grinch - embraced the idea of using songs in unconventional ways, as part of conveying a narrative. The use of music, in this film, is very unconventional, which I love.

Even a song on the radio that completely lacks substance is there for a reason. Sometimes, people need a break from cold reality; the song that you really don't have to put that much thought power into can be just as entertaining as something that might take you on a three- or four-minute cruise through the depth of reality.

Probably the reason it's a little hard to break away from the album format completely is, if you're getting a band together in the studio, it makes financial sense to do more than one song at a time. And it makes more sense, if you're going to all the effort of performing and doing whatever else, if there's a kind of bundle.

After I released 'Jesus, Take the Wheel,' people started saying, Oh, it's kind of risky. You're coming out with a religious song. And I was thinking, Really? I grew up in Oklahoma; I always had a close relationship with God. I never thought it was risky in the least. If anything, I thought it was the safest thing I could do.

When you put biblical truth to the songs used in churches, you'll have the congregation leave singing the sermon. You'll have God's thoughts, things that are God-breathed, stuck in their heads. It's sad to think about a really catchy tune paired up with bad theology because that could, honestly, do a lot of damage in church.

The whole Beatle thing was just beyond comprehension. When 'Help' came out, I was actually crying out for help. Most people think it's just a fast rock 'n roll song. I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie. But later, I knew I really was crying out for help.

What does he plant who plants a tree? He plants the friend of sun and sky; He plants the flag of breezes free; The shaft of beauty, towering high, he plants a home to heaven anigh. For song and mother-croon of bird, in hushed and happy twilight heard - The treble of heaven's harmony. These things he plants who plants a tree.

Those situations were just taking over my entire life. It was fun to write in a way, because it helped me take a really bad situation and a really sad situation and make beautiful songs out of them. When I got half of the song written it was like, "Oh, this is great." It was like the one thing that was making me happy again.

I remember walking into a department store and you would hear an instrumental version of a Beatles song and it was usually kinda cheesy and very un-rock. Kenny G, for example, is a musician that I certainly dont want to sound like, but technically he is flawless but somehow the rock and roll aspect has been sucked out of it.

Martin Noakes is a British conspiracy theorist who also happens to be maybe the best songwriter in the world, in my opinion. His songs are beautiful. They're crazy. That 9/11 song... no song has ever gotten into my head more. And it's inappropriate. You can't just like walk around singing about "jet fuel doesn't melt steel."

It doesn't matter what kind of music you like or what kind of person you are or what you're used to listening to, or whether you know me or not. It doesn't matter, either way you can be inspired by it [my songs]. Each way I want to make it relatable to that group, but most of all keep the inspirational part of it, for sure."

We were always in the shadows of the stuff that was getting more attention. So people learned to listen to us slowly over time. And, frankly, we learned how to listen to ourselves. It takes us a long time to write a song that we all really like, so it makes sense that it would take a while for the listener to get there, too.

The issues of poetry, and music, and dialogue with one another is the essential thrust of any song. The breakdown becomes the epoch, the language, the cultural tapestry from which it's echoing, if you will. I often say it's the eyes of the poet's and the ears of the composer's. This narration is what fascinates me endlessly.

There has been a ton of excellent music in this period (along with a few misses), evoking scenes like a bar-room brawl at a border-town dive, a washed-up singer in a smoky lounge, and the scenes of violence in Bob Dylan latter-day music videos.I think the ethos of this period is best summed up in the 2001 song "Summer Days".

'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.

There has to be a song. There are too many dark nights, too many troublesome days, and too many wearisome miles. Somewhere deep in the forgotten corner of one’s heart- there has to be a song. Like a cool, clear drink of water and like the gentle warmth of sunshine, and like the tender love of a child, there has to be a song!

As an artist it's exciting to know that you've made someone's life decision after them listening to your song. To get married or un-married, when you realize that people are listening it brings a feel of responsibility that can't be ignored or denied. There's someone watching us. Whether an artist wants to admit that or not.

If I should stay I would only be in your way So I'll go, but I know I'll think of you each step of the way And I will always love you I will always love you Bitter sweet Memories That's all I am taking with me Good-bye. Please don't cry We both know that I'm not What you need But I will always love you I will always love you.

I was like, "Who the hell is Bob Dylan?" I was going to learn one song to appease my mom and alphabetically the first song in the book was "Absolutely Sweet Marie." When I heard it, it was like "Oh, there is something going on here. It's not like my parents' boring music that I don't care about. This is totally electrifying."

I sung from an early age and I was always given nice parts in school musicals, but I definitely wasn't the golden girl. I didn't have the guts. You've got to have a real confidence in yourself to be like: "I'm gonna be a singer and write songs." I never thought it would go anywhere because it's so unattainable to be a singer.

The main thing you worry about is just coming up with songs at all. I don't sit down and write stuff like certain writers do. They think about what they are going to write first and then they write it. I just get what comes in at me. It's like I'm a musician and if I can keep my mitt on, I can catch the balls that come at me.

We don't think about how the songs are going to translate so much during the writing process. Once the song is recorded, and once we're mixing, that's when it occurs to me. Then you start rehearsing to play shows. I never concern myself about how we're going to pull it off live, because I know we'll figure out a way to do it.

If leading worship is just about bringing a group of people into a room so we can get goosebumps and sing songs together, there's not much value in that. But if leading worship is a means to an end, that we leave this place as a different kind of people, as part of a new humanity that God wants to create... then that matters.

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