Quotes of All Topics . Occasions . Authors
The first thing I think I ever played in public, aside from singing in church, would have been - and this is a true story - when I was about nine or 10 years old, I was obsessed with Twin Peaks. I played the theme from Twin Peaks on a little tiny Casio keyboard. People politely applauded. I just fell in love with that song and thought it was very heartbreaking.
You are everything that's ever been my favourite thing," she wanted to tell him. "You're my love song, my birthday cake, the sound of ocean waves and French words and a baby's laugh. You're a snow angel, crème brulée, a kaleidoscope filled with glitter. I love you and you'll never catch up, because I've gotten a head start and my heart is racing at light speed.
We can use music as a tool to overcome things. It was a beautiful age and realization for me, an awakening. I felt like my eyes were opened. It was like, you mean to tell me that I have the opportunity when I'm bottling stuff up, wanting to smash windows and breaking down walls, I can put that energy into a song and wake up the next day with that weight lifted?
Mostly, isolation allows me to go through a period where I really concentrate and get in a flow. Sometimes the whole process can be daunting, and when you're away from it, thinking about going back to it is especially daunting. If I go away for a week, I can be working on 10 songs at once, just jumping around to each one. I can get a month's worth of work done.
Licensing is how indie rock people make a living these days, so whatever about that. But I want good films and good placement for the songs because I want to be exclusive. I don't want to just sign it away because I don't want songs to lose meaning, but I'm also...I don't care [that] Wilco sold songs to Volkswagen. That's great. They probably drive Volkswagens.
Anyone who knows anything should know you cannot take a master track of a recording and write another song over the top of it. You just can't do that. You can call it a tribute or whatever you want to call it, but it's against the law. That's a problem with some of the younger generation, they don't understand the concept of intellectual property and copyright.
What I like to do with music is make people feel better. Make people realize that all humans have the same problems, more or less. A lot of people deal with the same thing. A lot of times people think problems are specific to them and they if they hear a song about a problem common to them, they feel good because they know that someone else has gone through it.
I always knew that sooner or later there would come somebody like Woody Guthrie who could make a great song every week. Dylan certainly had a social agenda, but he was such a good poet that most of his attempts were head and shoulders above things that I and others were trying to do. ... If I had an address, I'd send him a birthday card saying, 'keep on going.'
There is a fragrance in the air, a certain passage of a song, an old photograph falling out from the pages of a book, the sound of somebody's voice in the hall that makes your heart leap and fills your eyes with tears. Who can say when or how it will be that something easters up out of the dimness to remind us of a time before we were born and after we will die?
I felt certain uneasiness, a strange sensation, which had comic to a head. Every evening I went to Yahya to report that Mujib [Rahiman] and I weren't making any progress, and Yahya [Khan] showed no interest. He looked away or complained about the television or grumbled because he couldn't listen to his favorite songs - his records hadn't arrived from Rawalpindi.
I am saying what comes out, because I'm really not a methodical writer. I'm not a good building writer, where you are like "well, I going to make a song today, and I think it will be a pop song." Some people are great at it and it's beautiful. If I am feeling musical and I pick up the guitar, usually something will eventually come out and I'll see where it goes.
My brother was in high school and he had a garage band going, but no one would sing. They were covering a Hatebreed song at the time and I knew the words for it. My brother knew I knew the words, so he came inside the house and he's like 'Hey Mitch, come out here and sing'. I did it and after that I started a band with my older brother. That's how I got started.
It's always a blast playing the new stuff. But I feel like songs, in a way, are never finished. You get to a point where you're comfortable enough to put a stamp on it and send it out there, but even after recording it, when you're playing it live, you hear different harmonies, you hear different notes, you hear different tempos or peaks and valleys in the song.
I say to my students that I can't teach them how to write a good song, but I can teach you how to write a better song. Talking about this idea of it being a process. By going back and not settling for something and find a way to step back from your songs-which is a very hard thing to do-but when you're stuck or you can't move forward, start doing some polishing.
Some people feel that it's controversial if I say that because my dad is known as a political artist. But I don't really believe that he was a political artist. I think some of his songs were political, and I think they were incredible because he was able to make art that was political and that wasn't pedantic. But I think he was unique in being able to do that.
Music exists when rhythmic, melodic or harmonic order is deliberately created, and consciously listened to, and it is only language-using, self-conscious creatures ... who are capable of organizing sounds in this way, either when uttering them or when perceiving them. We can hear music in the song of the nightingale, but it is music that no nightingale has heard.
After the song [for sausage Party] was finally done, we didn't have enough time, but we thought it would be fun. It also would've thrown it off a bit, because we really are doing more of an homage to Pixar, and if we filled it with songs, it would've felt more like Disney. And we had an experience, while we were making it, that going too Disney made it too weird.
I believe your success is based off what your goals are. Are you trying to feed your family or have plaques on the wall and be broke? In that case, I think the game is in a better place. We have all heard of famous artists who are broke. Then we know of artists who may have had only a song or two on radio, but have a million or two dollars off that quick come up.
They seldom looked happy. They passed one another without a word in the elevator, like silent shades in hell, hell-bent on their next look from a handsome stranger. Their next rush from a popper. The next song that turned their bones to jelly and left them all on the dance floor with heads back, eyes nearly closed, in the ecstasy of saints receiving the stigmata.
The Replacements definitely changed my life, I think they're just amazing. The thing that blew me away [a band like that] is that you'll get into a band from hearing one interesting song and then you'll realise that you've got seven or eight albums to listen to afterwards and every single one of them is a great record. The Replacements definitely changed my life.
The interesting thing is that, well, here's what I think about songwriters and songs. Sometimes people sit down and say, "I gotta write a song today, I have a title" and all of that, and sometimes inspiration just happens, almost like "Sugar, Sugar" and a couple of the other songs. But basically, I just started playing the piano, and I'm not a great piano player.
Writing original songs is much, much harder (I think) because you only have yourself to conjure up EVERY single moment a listener is going to hear. It's a craft that goes directly from your brain to their ears. You can never be sure that what you're writing is gonna be good enough to keep a listener engaged and truly experience something. It's a shot in the dark.
To perform at the Cardiff Millennium Centre was amazing in itself - the theatre is an incredible venue and it was great to be performing so close to home. For me the best experience was in Glasgow, where I got to play Dee Dee for two weeks! The audience sang along to every song with such enthusiasm you actually couldn't hear yourself singing! That was incredible!
All birds during the pairing season become more or less sentimental, and murmur soft nothings in a tone very unlike the grinding-organ repetition and loudness of their habitual song. The crow is very comical as a lover; and to hear him trying to soften his croak to the proper Saint-Preux standard has something the effect of a Mississippi boatman quoting Tennyson.
It makes me so mad that some people underestimate the wisdom and energy of young people. All because they don't look the way older folks think they should look. I'm working on a song about it. Maybe some of those closed minded people will realize long hair and tattoos don't mean they should be ignored. Close minded people are part of what's wrong with this world.
Oh, Black known and unknown poets, how often have your auctioned pains sustained us? Who will compute the lonely nights made less lonely by your songs, or by the empty pots made less tragic by your tales? If we were a people much given to revealing secrets, we might raise monuments and sacrifice to the memories of our poets, but slavery cured us of that weakness.
William Ferris has long reigned as the unimpeachable source of the entire southern experience. His work on southern folklore and the composition of the Encyclopedia of Southern Culture have made him both legendary and necessary. His book, The Storied South , is a love song to the South Bill helped illuminate. It's a crowning achievement of his own storied career.
I got an email from my dad after the Super Bowl, and he was like, "Will you send me all of the Beyoncé Knowles songs that you have on your computer?" I'm like, "You never listen to Beyoncé. I'm so excited right now." It's good to embrace new things. I like when I can show people that it's not all one genre, and everything is very much inspired by everything else.
I did it a little bit in college, but now I've been doing it more. But yeah, it's not, I think you can definitely have a sense of humour about it. Like a lot of the time I'll finish my set with 'Sandstorm' by Darude - do you know that song? That's a funny song. People also go apeshit when you play it. But at the same time, it's not like the whole thing is a joke.
I think music should be free. I think all communication should be free. I think people should respect artists, and there should be a certain respect for artists who give their music away for free. If your music winds up on Napster and you approve of it, then the person downloading your music should at least go to your concert, should at least purchase your songs.
The Mackenzie had never met folk so poor in story and song and legends, and it moved him to a pity that pricked at his eyes. Without that tapestry of colour and words and ritual, what was life but eating and mating, sleeping and moving your bowels? All of them good and necessary, but not enough; and they themselves needed that framework too, to give them meaning.
Water. Its sunny track in the plain; its splashing in the garden canal, the sound it makes when in its course it meets the mane ofthe grass; the diluted reflection of the sky together with the fleeting sight of the reeds; the Negresses fill their dripping gourds and their red clay containers; the song of the washerwomen; the gorged fields the tall crops ripening.
If I sing "you broke my heart, you left me flat," everyone knows exactly what that means - they know the story. But if I sing a line that's plaintive or wailing, people can experience their own set of emotions and their own story. Each of us might give that phrase a different meaning. It's open to interpretation, and one song becomes a thousand songs. I love that.
It's funny because you do often read in recounts of very famous albums, people tend to focus on mistakes in really positive ways, and there's certain mistakes of my own that I always do find on every record that I needed to accept. I find it really interesting to talk about. I always write songs at the wrong tempos, and I have to learn to accept that a little bit.
I never try to be religious. I never try to be any type of religious cat. Spiritual, yes, but religion, when you get into that you get into a category where you lock yourself in and people look at you a certain way and then they become that way. Nah, I'm still an MC, I'm an MC first. People try to figure out my origin, at the end of the day it's just clever songs.
If any of you on your journeys see her-shout to me, whistle...he sang, and it became a habit for audiences to shout and whistle in response to those lines. There was nowhere he could hide in such a song that had all of its doors and windows open, so that he could walk out of it artlessly, the antiphonal responses blending with him as if he were no longer on stage.
It's completely unsexy [Yello, "Oh Yeah" 1985]. It does capture that weird '80s materialism and "We're gonna get it on now" vibe. But it's a very juvenile approach. It also became a weird signal for comedy, in the sense that when you heard the song, it meant comedy was happening on screen. I feel like this song was probably done in a couple of minutes in a studio.
I just do as many songs as I can and then I put it together when I get sort of in the middle, maybe 30 songs, that's when I start really thinking about the name of the cd and what direction all the songs are going, that kind of stuff. But I don't ever want to corner myself, I just want to be able to express whatever I can express in songs and just pick after that.
One should hallow all that one does in one's natural life. One eats in holiness, tastes the taste of food in holiness, and the table becomes an altar. One works in holiness, and raises up the sparks which hide themselves in all tools. One walks in holiness across the fields, and the soft songs of all herbs, which they voice to God, enter into the song of our soul.
As a consumer, if I heard someone who said, "I've written this song," and then I found out it wasn't by them, it's a bit disappointing. A lot of the guys that do that are really talented and they've made some incredible music, but they get addicted to having success and feel too much pressure, so they get other people to make sure that their next song makes money.
You gonna hear a lot of loving songs in there, you gonna hear betrayal songs, you gonna hear action that takes place on some of the records ... But it all revolves around that world, that Shaolin/ Wu-Tang world. They just battling one another, and at the end of the day, we all come to find out that we're one and the same. We fighting each other but we're the same.
Clive [Davis] tried to tell me that saying certain words in a song - or as he says, 'putting some balls into it' - isn't bad, it's just strong emotion. Well, there are certain words and emotions I don't want kids hearing, and I'm not changing because they think it's going to sell better. This is going to sound horrible, but I got 12 million votes doing what I did.
And finally, I just felt it was crucial for some of us in the hip hop community to speak up on the issues of teen suicide, bullying, and the overall anti-homosexual sentiment that exist within hip hop culture. I felt so strongly about these issues and this song that I had to do a video that would command some attention, even if it makes some viewers uncomfortable.
My debut single "Pointless Relationship" is about a girl's view of where the relationship is going with her partner and it sounds like a negative term. But the song is more of an empowering song from a woman's perspective! It's the life of them together and it's just never going to go where it should go, and so she's saying to him this is a pointless relationship.
It is so important that our lives are built not on our feelings or circumstances, but on the word of God, and songs can really help us to meditate on and retain truth. I know from the correspondence I regularly receive that if you can express in songs the profound truth of the gospel in a poetic yet accessible way, they really can have an impact in people's lives.
I love when people will say, "Oh, my songs are my children." I understand that, but I'm also not afraid to kill my kids. I know when the time has come to throw it in the trash can. With a child you've got to go to therapy and put it in daycare and buy it birthday presents. With a song, you can shove it in a dark closet and tell it you'll be there when you're ready.
Britney Spears and Christina Aguilera are doing pretty well at getting noticed - a lot of people are doing pretty well at it. But you wonder whether they'll last, because many of them don't have the ability to get an audience to love them. You say, "That's a fabulous body" or "I like that song"; you don't say, "I love them because I know them." You can't know them.
When they turned off, it was still early in the pink and green fields. The fumes of morning, sweet and bitter, sprang up where they walked. The insects ticked softly, their strength in reserve; butterflies chopped the air, going to the east, and the birds flew carelessly and sang by fits and starts, not the way they did in the evening in sustained and drowsy songs.
The song is based on a lot of observation and a lot of speculation. But in sort of a pointed way its kind of about Madonna...I think it was a particular time where I was being bombarded with her image on TV and in magazines and her whole schtick kind of speaks to me in that way...like she's going through some sort of problem. It seems she's getting a bit desperate.
As for music and my place in it, maybe things are changing a little bit. I know this: a good song is deeper than a tattoo. It'll remind you of the car you're driving and the girl you're going around with and the streets you're cruising. It's better than a photo album. A song is a tattoo that you never lose. 'Ice, Ice Baby,' man, you'll remember that when you're 90.