Song Quotes - Page 191

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The chorus-ending from Aristophanes, raised every night from every ditch that drains into the Mediterranean, hoarse and primeval as the raven's croak, is one of the grandest tunes to walk by. Or on a night in May, one can walk through the too rare Italian forests for an hour on end and never be out of hearing of the nightingale's song.

Each person who ever was or is or will be has a song. It isn't a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their song instead.

Let patriotism have its high days and freedom its monuments, and let the triumphs of navigators and generals be annually observed; but surely, beyond all these, a season that stands for as much to the race as Easter does may well be remembered each year with songs and flowers and with every mark of gratitude and of loftiest jubilation.

When I went to do my big audition with actors for Mr. Blonde, the thing that was very interesting was the first person to actually do the audition with the song, and they kind of actually acted out the whole scene, they weren't so great. It wasn't that they were magnificent, but the song, it was the first -it was all - been in my head.

You can draw a line between what I'm interested in and what I'm not interested in. On one side you can name Dylan and Lennon, who observe the world and have feelings, and write songs directly from those feelings. On the vapid side you have pop groups who need material and write songs to fill the hole, rather than getting somebody else.

Writing a song isn't that hard. Writing a good song is difficult. Let's face it, we're faced with taking a complex feeling or event, making words rhyme and saying exactly what we want them to say in a short amount of time. ...the primary reason for keeping it short and to the point is to be certain that you're not boring your audience.

I've never quite felt totally comfortable up on stage. I've gotten more comfortable, but drinking wine is a crutch that gives me a little courage. It helps me lose a little bit of the self-consciousness and the awareness of how awkward it is standing on a stage with lights and a bunch of people looking at you while you sing love songs.

First play I ever did was 'Footloose.' I played the part of Willard when I was 16. I think I wore my drama teacher's jeans and her belt - that's how small I was. I know a lot of Willard's back story from the musical that's not explored in the film. Like he's got this whole relationship with his mama, and he sings this song "Mama Says".

Our shows have always been sort of an all-generations thing, people from 6 to 60. The other night, we played a show and we had a woman who was probably 70 to 75 years old, and she was there alone and she was singing every song. On the other end of the spectrum, there was a 7-year-old on his dad's shoulders and the dad is singing along.

We are weak, please let us in. We're week, please let us in." After about a week tha song is gonna change to, "We're hungry, we need some food." After two, three weeks it's like "Give me some of tha food! I'm breakin down tha door." After a year it's like, "I'm pickin' the lock, comin' through the door blastin." It's like, "I'm hungry.

I've been doing music for many years and after a point what is the motivation that drives you to compose and to do stuff? I did this song for the U.N., a fighting for poverty anthem. That's when I realized that I could do a foundation. And when I started the foundation, it was basically to fight poverty and to help - that kind of stuff.

No one can threaten poetry. It's always been there, always will be. Humans need it to live: it has sustaining powers. How could we (anyone) get through adolescence without some form of song? Song is only a version of lyric poetry that is carried more by melody than by internal coherence and unity. but lyric and song - they are the same.

I have written some songs, but I would really call what I’ve done poetry at the end of the day, because I’ll sit with my guitar for hours and hours on end for, like, a week and then I won’t touch it for a month. I also just have no confidence. And you know what? I don’t have time, because I’d rather be doing other things, like knitting.

Legions of young hip-hop fans are as against this as hip-hop's most fierce critics. There is a huge underground movement within hip-hop circles that against these representation. You can hear this message on tons of lyrics and rap songs produced by independent emcees. But they are fighting against a well-oiled and well-financed machine.

I like to rap about things that are funny but mostly things that are relatable. I remember there was this one song with Ja Rule, and I forgot, exactly, but it was with Ashanti, and there's a line in it that was like, 'She hit me up on AIM.' But that wasn't the actual line; it was something else, but I was like, 'Oh my God, he uses AIM!'

Thankfulness is not something God gives us. It is not a spiritual gift and it is not a spiritual fruit. We can receive God's peace, joy and love, but thankfulness is something that we give to Godand to others. It is a choice that we make. Let us thank Him today with songs of celebration, hearts of strong devotion and acts of admiration.

Talking about remixes, some people like to preserve what is original and some people give it a new meaning. Coming to Hip Hop, the biggest of the artists use sampling. You are changing the genre of the song and to be able to give old music in new package is also fair and people who have emotions attached to it - they are also not wrong.

The question has been asked, 'What is a woman?' A woman is a person who makes choices. A woman is a dreamer. A woman is a planner. A woman is a maker, and a molder. A woman is a person who makes choices. A woman builds bridges. A woman makes children and makes cars. A woman writes poetry and songs. A woman is a person who makes choices.

I think everyone has a story to tell. Part of what I do is help artists find their voice, not only their vocal voice, but their writing voice. Every artist that I worked with who has those records that everyone talks about, they are also writers. I like to say I helped support whatever their writing was so people heard the song clearly.

I was probably 16.I played - I tried to play these songs that I had written. And, this was a common theme when I was younger: I would write a song about somebody, and they would come to my show. I wouldn't be able to play the whole thing, because, there would be some giant, loaded secret coming up in like, the third verse, or something.

Sing songs that none have sung, think thoughts that ne'er in the brain have rung, Walk in paths that none have trod, weep tears as none have shed for God, Give peace to all to whom none other gave, Claim him your own who's everywhere disclaimed. Love all with love that none have felt and Brave the battle of life with strength unchained.

We may exist in all universes, but 'hear' only one because of our limitations, the valve of our desires, our practical, physical needs. All is vibration, with nothing vibrating across no distance whatsoever. All is music. A universe, a world, is just one long difficult song. The difference between worlds is the difference between songs.

I bring my classical training - some of it, but not all of it - and also my background and culture, to spirituals. And I try to leave room for that unpredictable factor, where the feeling of the song is allowed to come through. The same ethos can be applied to singing Mozart, or Schubert, or Bach. It's not just about what's on the page.

There are definitely some songs you sing and you just know there's something about it - there's kind of a touch on it that's different. But there are no rules to that. Every time, it's a surprise and it's humbling to hear that people are singing the songs in different places and different parts of the world. We're always amazed by that.

We had various kinds of tape-recorded concerts and popular music. But by the end of the flight what we listened to most was Russian folk songs. We also had recordings of nature sounds: thunder, rain, the singing of birds. We switched them on most frequently of all, and we never grew tired of them. It was as if they returned us to Earth.

I spent a lot of my twenties wanting a maid, really. I thought I wanted a relationship, but I just wanted somebody to fix and nurse me, and I'd take her hostage for six months. When you're 23, 24, you want to be in a relationship because they look brilliant - you've heard all the songs about it and seen all the movies and it looks great.

Six months is the most you can ask of any fan in this day and age, with the Internet and all these new artists. I understand that my music is in a lot of mediums. Some people want me to make an R&B album. Some people want me to never sing again. I just don't want people to be able to draw comparisons between my old songs and my new ones.

Maybe in the back of my mind I was kind of wishing that I would become a rock star, kind of wishing that I would reach enough people who would be willing to pay me for the music, that I would actually be able to live off of just writing the songs that I wanted to write. But I don't think I really admitted to myself that that was my goal.

Perhaps all women are part faerie, for what woman can deny her faerie blood when the portals to her own land are open; when the full moon sings its insistent song; when sorrow and passion and rage pulse through her body at moon times. This is why women are the chosen ones of Faerie, pat of the vibrant, fluid, emotional soul of the world.

My sole inspiration is a telephone call from a director. ... (when asked who wrote 'Some Enchanted Evening') Rodgers and Hammerstein, if you can imagine it taking two men to write one song. ... Good authors, too, who once knew better words now use only four-letter words writing prose. ... Brush up your Shakespeare and they'll all kowtow.

At the end of the tour last year, I was completely fried. I felt my soul was begging me to give it a release. Two long trips to Costa Rica and to Iceland I've made were the best things I could have ever done for myself and you see it with the songs I wrote before I left and the songs I wrote after - there are two different Kips in there.

I actually hear into life - seeing everything that's occurring as a conversation with God in some form. So it really is the next song on the radio - a chance utterance of a friend on the street - it really is what's happening right now. I stop and think, 'What is life trying to tell me right now?' And "What does my soul know about this?'

I've got these five-pound weights and a treadmill in the living room. I work out the other parts that have affected my voice: my diaphragm - doctors took mine out in surgery - and my lungs. I've got to build back my legs, too, so I can run across that stage. I've got a lot to do, but I'm going to get out, sing songs and tell the stories.

I started playing guitar and writing songs when I was 15. I think what mainly sparked my interest was just the fact that I grew up listening to Cheryl King, Joni Mitchell, and James Taylor, and was just always inspired by that sort of organic art, and organic songs and just very natural songwriting that came out of some of those artists.

Everything runs smoothly. I'm never uncomfortable with anything I do. I never feel like I regret anything. I love music. All kinds of music. I'm a producer first. I feel like I can do anything and still be myself. You hear a song and you're like, "Juicy J is on this song, Juicy J is on that song," but it's still me at the end of the day.

The music business for me was never about buses and billboards you know, that was never the reason I got into the music business. The reason I wanted to get into the music business was because I genuinely, wholeheartedly love to sing. I love singing songs and telling stories and playing music, so that's why I got into the music business.

On past records I usually did start with a story or an idea for a song and then write around it, but on Achilles' Heel I would just start writing and try to let the song and my sub-conscience determine the direction. which is a goofy way of saying I tried not to decide before hand what the song and or the characters would do and be like.

So yeah, when I was a kid, when I was 16, 17, I'd come home from high school, and my dad collected all of Barbra Streisand's records. And she was very young then. I think she probably had three records out, and she was 21, and we had them all. And I knew every single song, every breath, every elision, every swell. And I sang along to it.

There's lots of bands where somebody will write lyrics and somebody else will sing them. It works for a lot of people, but that feels weird to me. I don't mean this in a bad way at all but it just feels fake.. I guess in my heart of hearts, whether the person has a good voice or not I want [the songs] to come from them. I don't know why.

And the thing about me is, I have a lot of mellow songs, because they're the easiest for me to write. I wanted to try to make some more upbeat songs, so, I ended up gravitating toward writing songs with friends, which was a great learning process, and also we came up with great songs. Those are the songs that came out the most naturally.

I only knew classical music, which to me was the only true music. The only way I could survive at the bar was to mix the classical music with popular songs, and that meant I had to sing. What happened was that I discovered I had a voice plus the talent to mix classical music together with more popular songs, which at the time I detested.

The church, by and large, has had a poor record of encouraging freedom. She has spent so much time inculcating in us the fear of making mistakes, that she has made us like ill-taught piano students: we play our songs, but we never really hear them because our main concern is not to make music to avoid some flub that will get us in dutch.

If all the skies were sunshine Our faces would be fain To feel once more upon them The cooling splash of rain. If all the world were music, Our hearts would often long For one sweet strain of silence, To break the endless song If life were always merry, Our souls would seek relief, And rest from weary laughter In the quiet arms of grief.

I think some modesty actually serves me by just accepting that I am an instrument. I'm not trying to match up to an ideal as some kind of challenge. It's more like I use the family tree of music and song that I feel has fit me as an encouragement; like it's a bed to rest in rather than a challenge to try to better myself over, to try to.

It's easy to fight when everything's right And you're mad with the thrill and the glory; It's easy to cheer when victory's near, And wallow in fields that are gory. It's a different song when everything's wrong, When you're feeling infernally mortal; When it's ten against one, and hope there is none, Buck up, little soldier, and chortle!

The only reason I felt like I could sing a song like 'Blown Away' is because I have definitely lived through my fair share of trips to the cellar in the spring. We were no stranger to that. I still ask my mom, 'Is the cellar cleaned out now? Is everything OK?' Even in my new house, I had something built in it that's like a storm shelter.

The fact that we represented freedom, you know. We talked about that in the songs and I think that the parents, like all parents, they want their kids to be in line and not go crazy or do anything too weird (laughs). And for some reason, I think, people identified The Doors as representing just being able to do whatever you wanted to do.

It seems all "protection" has to be monitored, considered, weighed and justified - I am suggesting we do that (but it's something Mary Shelley (and Gertrude Stein) also suggest). "Torch Song," the book's final section, looks at an arson committed by someone hired to protect the wilderness from fires, a catastrophic failure of protection!

I think that people want to go to the movies and watch shows on TV or in theaters that make them feel good and music really does that. Not only can you watch something and connect to dialogue, but when you listen to a song, it gives a whole other element of connection and you get that feeling like you want to stand up and dance and sing.

I was invited to L.A. when I was 16 for a weekend-long songwriting session by a writer I had met through my voice teacher in Pittsburgh. My first hit, 'Hide Away,' was one of the songs written during those sessions. It was played for a radio rep who then started a new label; the song got a pretty organic start at radio and then took off.

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