Song Quotes - Page 207

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When you first start a band all you think about and spend your time doing is writing songs, play shows, in the simplest way and the simplest formation of the band. It's about the gear, and that guitar that one day you will buy. It's a beautiful time. I'm grateful for having that time. Then life flips upside down, all of a sudden you are strapped to a rocket ship, you get a hit, then it is tough to keep grounded.

The songs themselves sometimes have messages and people can read into them different ways, but I try to use concerts as a way to gather people and then have information there. I think that's important to find that balance, a way to be able to turn people on to things at the shows, but also just have it be an entertainment experience for people who just want to hear music and dance and don't want the extra stuff.

So you can be about your business, and then on it comes again. And this time you're ready, and you've got a wine glass or something. And you put the glass up to the wall, and you can hear through the wall a little bit more of the song - maybe just the middle bit this time. You know, you managed to get in a little bit of the end. And so it goes on until - because you just got to - you really just want to sing it.

I pounded through the houses, staggering down the hallways, falling down the steps. It was a hot streaky dawn full of insecticides, exhaust, flowers that could make you sick or fall in love. My battered Impala was still parked there on the side of the road and I wanted to lie down on the shredded seats and sleep and sleep. But I thought of the bones; I could hear them singing. They needed me to write their song.

We actually have some gay people that work with us, and we have a lot of friends that are gay, too, and I know that this song has inspired them... I know that coming out was tough on their parents and on them and the whole entire family. For a long time, some of them didn't get to hear 'I love you' from their dads or be accepted in that way. ... It's helped a lot of our friends... We don't judge anybody's lives.

He is the straight to video sequel to your summer hit movie. He is the verse to that song on the radio you have to hum cause you can’t remember the words. You couldn’t break this kid’s heart, he is so far beyond that. This is the kind of kid who blew out the candles on hope all alone for too many birthdays to remember. And no one has ever fallen in love with anyone with a smile that’s dripping with “please die”.

The only position that leaves me with no cognitive dissonance is atheism. It is not a creed. Death is certain, replacing both the siren-song of Paradise and the dread of Hell. Life on this earth, with all its mystery and beauty and pain, is then to be lived far more intensely: we stumble and get up, we are sad, confident, insecure, feel loneliness and joy and love. There is nothing more; but I want nothing more.

There is a grandeur in the uniformity of the mass. When a fashion, a dance, a song, a slogan or a joke sweeps like wildfire from one end of the continent to the other, and a hundred million people roar with laughter, sway their bodies in unison, hum one song or break forth in anger and denunciation, there is the overpowering feeling that in this country we have come nearer the brotherhood of man than ever before.

I haven´t written on piano since It Bites. You can tell my songs that I´ve written on piano with It Bites cause they all go like "wrooash", like Old Man And The Angel and Calling All The Heroes and songs like that. It all tends to happen very quickly, I get two thirds of the song within five minutes and then spend rest of the time trying to ruin it in my head, and then I go back to where I was from the beginning.

... you should wait until the book is finished before making a judgment on its content. By the time you have gone through twenty drafts, the characters may have developed lives of their own, completely separate from the people you based them on in the beginning. And even if someone, at some time, gets upset with your words - so what? Live your life, sing your song. Anyone who loves you will want you to have that.

Om is not just a sound or vibration. It is not just a symbol.... If you think of Om only as a sound, a technique or a symbol of the Divine, you will miss it altogether. ..... Om is the mysterious cosmic energy that is the substratum of all the things and all the beings of the entire universe. It is an eternal song of the Divine. It is continuously resounding in silence on the background of everything that exists.

Along with a lot of other things, becoming a Bob Dylan fan made me a writer. I was never interested in figuring out what the songs meant. I was interested in figuring out my response to them, and other people's responses. I wanted to get closer to the music than I could by listening to it - I wanted to get inside of it, behind it, and writing about it through it, inside of it, behind it, was my way of doing that.

I have been singing since I was two years old, my parents tell me, and started to write songs when I was fifteen. Eventually, my friends and my parents knew that this was something I liked to do. They also knew I had a dream of making my own album. They have always been encouraging me to do something about it, and so I did. So I went to a local radio station in Tromsø, and there I got to record a couple of songs.

Let the church come to God in the strength of a perfect weakness, in the power of a felt helplessness and a child-like confidence, and then, either she has no strength, and has no right to be, or she has a strength that is infinite. Then and thus, will she stretch out the rod over the seas of difficulty that lie before her, and the waters shall divide, and she shall pass through, and sing the song of deliverance.

The Bible is not primarily a written or printed text to be scrutinized in private, in a scholar's study or a contemplative cell. It is a body of oral messages, announcements, prophecies, promulgations, recitals, histories, songs of praise, lamentations, etc., which are meant either to be uttered or at least read aloud, or chanted, or sung, or recited in a community convoked for the purpose of a living celebration.

Let's talk about that for a moment, about the couple that Yves Saint Laurent and I were. Like all couples we went through "storms," as the Jacques Brel song says. But if there's one area where we never had the slightest disagreement, it was art. Never. Not once. Not about painting, not about opera, not about theater. We were always in complete communion. Of course, that's how all of the collection came into being.

We do have to learn poetry at school. Poetry is interesting to me, particularly Chinese poetry. It's like an ancient form of song. There's five sentences, seven sentences - they're very different from English poetry. Chinese poetry is much more rigorous. You can only use this many words, and they will form some kind of rhythm so people can actually sing it. To me, poetry is quite abstract but also quite beautiful.

I think when you write every song on your album - it's like having eleven or twelve children. It's hard to say I like this one song more or I like that one more. I love every song on the album. What's happening is that I'm hoping that everyone will be very satisfied. I think the single "Good Girl" will be adored by the people in the urban world and I think the "Best of Me" will be loved by people in the pop world.

In my culture we had songs for everything, and that's lost now. There were songs for when people were born, when they died, when they sowed the field, baked bread and they're gone now mostly. I think we need these songs today. One of the reasons people connect to Wardruna in such a personal way is because there is a need for these songs and for that kind of connection to the nameless. Call it nature, god whatever.

When I'm awake all night, sometimes I see the people and the city waking up around me. I feel a little bit moody at them for stepping into my night-time. What I want is that feeling when you're in the rain, or a storm. It's a shiver at the edge of your mind, an atmosphere of hearing a sad, distant sound, but it seems closer - like it's just for you. Like hearing rain or a whale-song, a cry in the dark, the far cry.

If I'm working on a set of songs, and thinking about putting them together in a collection, I start to think about what they have in common. Either on purpose or without meaning to, I shape them all in the same kind of way, because I'd rather the album feel like a galaxy of things that all have to do with each other. I do that with sonic elements, too - it's a matter of each record having its own specific identity.

We, as a band, are going to try to do a remix pack for some of our latest songs and do as much as we can. Every single that we release gets that. That's the thing that we enjoy. You meet a lot of talented producers and DJs, you revisit friends and ask them if they want to do a remix, that's one of the beauties in it right now: hearing different versions of our versions and just being able to put those out, as well.

I would agree with that. But when I write lyrics, personally I don't care if the person who is listening to it understands what I'm saying or not; and I write them like that specifically. You know, I have my views; I don't feel the need to have people have the same views as me. So if they find the meaning in the songs and it's the same meaning as the one I intended then fine and dandy and if they don't, they don't.

How beautiful, buoyant, and glad is morning! The first sunshine on the leaves: the first wind, laden with the first breath of the flowers—that deep sigh with which they seem to waken from sleep; the first dew, untouched even by the light foot of the early hare; the first chirping of the rousing birds, as if eager to begin song and flight; all is redolent of the strength given by rest, and the joy of conscious life.

Every one of those old songs like "What's My Age Again?" and "All the Small Things" is like a tattoo or a scrapbook or an old photograph. There are just songs that define certain moments in your life. Everyone has a song that got them through a bad breakup or they put on and it made them feel like they wanted to go out and kick the world's ass with their friends on a weekend. Those songs still feel like that to me.

I met Jason Mraz when he had a concert in Korea as a cover contest winner of his songs! He was super nice to even tune the guitar that I also won from the contest for me and we decided to jam to one of his hit songs, ”Lucky”. I actually don’t remember how I was able to sing because I was so nervous at the time but it would also be a dream come true if i can have the honor to share the stage with Jason Mraz one day!

Performing is really close to being in studio but performing takes over because being in the studio is two things; the first thing is that it is really beautiful to improvise and jam, but afterwards it becomes hard because it's very rare that a song will come together quickly. Most of the time it's back and forth and trial and error. You start questioning whether the song is good or not. So that can be quite tough.

We are too much in the machine world today. Even here in Tuva we've got every year more and more cars and other technologies, and of course it brings more pollution to our air, to nature. And I think the idea of the Kraftwerk song is people should not be very much mechanized or to be a machine in the world of machines. The idea is to try to find a golden middle between the world of nature and the world of machines.

Songs are like movies to me, and so you put yourself in the movie. You become a character in the movie. The new ones are exciting because they're fresh. But if it's not that, if the story is not what you get into, maybe it's the crowd response. You hit the first chords of 'She's In Love With The Boy' and 20,000 people start to scream, you're pretty motivated. You get what you need. And it's a great story. It works.

We were thinking about how other people deal with this career on every song. We got to meet people like Thom Yorke and hear him say how it's never normal when fans just come up to you. It's always a strange job. We don't want to come off like we're pitying ourselves for having this job because it's really amazing in a lot of ways. But there's a lot of stuff that comes with it that we're not really comfortable with.

I would just be constantly writing all these zingers - like, 'Burn. That would really get her.' And I know people are going to obsess over who it's about, because they think they have all my relationships mapped out. But there's a reason there are not any overt call-outs in that song. My intent was not to create some gossip-fest. I wanted people to apply it to a situation where they felt betrayed in their own lives.

Writing songs is no different than explaining to somebody what you dreamed last night: No one ever gives you crap for what you dreamed last night. "I was laying in my bed, and all of a sudden a stallion jumped on my bed and the next thing I know I was in Mars but it looked like my kitchen"... That's kind of what I do with my songs, write them in a dream-like manner. It's up to people to swallow it however they want.

I never experimented with the hoddu like I wanted to do. Like on the song "Allah Addu," the hoddu and the voice is something that belongs to West African culture. When you go to the north of Mali, in the past it was just the singer and one instrument player. We never really did have that on our CDs. On some other songs, like "Laare Yoo," we have a whole section of hoddu, something like four of them playing together.

Thou wast not born for death, immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn; The same that ofttimes hath Charm'd magic casements, opening on the foam Of perilous seas, in faery lands forlorn.

I'd love to do a song with Tom Waits. Around when I was like 17 or 18, my buddy, D-Money, put me on the Tom Waits and I literally at that point got every one of his albums and kind of studied his music. I like that he provides an entire world for the listener. He's hopefully someone that I could vibe with down the line. I'm not sure how it would sound or even how it could work, but he's always been a huge influence.

We were on a tour, and there were some chord formations that were tough for me to play when I was a kid...it had become apparent that there was some stuff I wanted to do that [would require me] to learn how to do that. So I wrote the song and used some of these chord formations so I would have to play them. I thought it would be a great teaching vehicle for a while, and it was, but it ended up as a performance song.

Each one of us in Café Tacvba is a composer and we come to the group with songs written out, musically and lyrically. Occasionally, there's a collaboration between us. But each song is almost always written by one of us, and then we all figure out the arrangements. Up until now there hasn't been a moment where the composer explains the song and says, "I want to say this or that." It's always open for interpretation.

I like myself better when I'm writing regularly. ... I was influenced a lot by those around me-there was a lot of singing that went on in the cotton fields. ... I'm a country songwriter and we write cry-in-your-beer songs. That's what we do. Something that you can slow dance to...I never gave up on country music because I knew what I was doing was not that bad. ... Most of the stuff I've read about me has been true.

The world's history is a divine poem, of which the history of every nation is a canto, and every man a word. Its strains have been pealing along down the centuries, and though there have been mingled the discords of warring cannon and dying men, yet to the Christian philosopher and historian - the humble listener - there has been a Divine melody running through the song which speaks of hope and halcyon days to come.

Not only do we mock the Eurovision Song Contest itself, but we lampoon other European countries for taking it so seriously, and they all retaliate by voting for each other every year and ignoring our (sometimes) palpably superior songs. Accordingly, Britain has become the Millwall FC of Eurovision: we are hated, we know we are hated, and we pretend we are happy to be hated. It's actually quite a sad state of affairs.

Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track's already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they're not already in there. Then I try to see if there's a different part of the subject matter that I can talk about.

My life is not this steeply sloping hour, in which you see me hurrying. Much stands behind me; I stand before it like a tree; I am only one of my many mouths, and at that, the one that will be still the soonest. I am the rest between two notes, which are somehow always in discord because Death’s note wants to climb over— but in the dark interval, reconciled, they stay there trembling. And the song goes on, beautiful.

I'm not playing up to pretend, I don't live above my means. In my song "96 Cris" I say, "...My bills too low for me to fall off." Honestly, if I never did anything again with music, because I put out my own music, I could pay my bills, forever. I can pay my mortgage off my old music. Of course, you probably wouldn't see me in my Lamborghini but, do you really need a Lambo? That's really what you have to ask yourself.

Tears and fears and feeling proud To say I love you, right out loud Dreams and schemes and circus crowds I've looked at life that way. But now old friends are acting strange They shake their heads, they say I've changed Something's lost, but something's gained In living every day I've looked at life from both sides now From win and lose, and still somehow It's life's illusions I recall I really don't know life at all

For the first records I really never thought about anything other than the song itself. I thought that this was what the job of a songwriter was. I was really approaching music from a very different standpoint. To me when I was younger the song was just the melody. I think as I've gotten older and have been recording myself I've become aware of just how many layers can exist within a song besides just the main vocal.

I think there are people that still hold on that like Heavy Metal like a bit of what is going on now, but it isn't all of what they love and which goes on and it's the same with me... There's still a lot of Ray Charles, Sam Cooke songs that I still happen to like a lot, but then there are a lot of Madonna and... a lot of the female singers that I like as well, but it's like liking it with different emotions, you know.

I hope it might help players have confidence in our own ways, and not to be afraid of them, as Bernstein showed - things like hoe-downs, fiddle songs, and the art of improvisation, and the New Orleans funeral tradition, and call-and-response church singing, and the fact that the blues run through everything. And in our relationship to European music, in that we don't have to imitate it, it's a part of us, inseparable.

Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.

The things a man has to have are hope and confidence in himself against odds, and sometimes he needs somebody, his pal or his mother or his wife or God, to give him that confidence. He's got to have some inner standards worth fighting for or there won't be any way to bring him into conflict. And he must be ready to choose death before dishonor without making too much song and dance about it. That's all there is to it.

Pete Townsend for me was a huge influence. Because essentially they were a three-piece band and the way he structured his chords and took up a lot of space musically in the songs was really important to the way Rush developed. Geddy and Neil both were such active players and lot of the time we were all playing like crazy and it was too much and somebody had to reel it in and me being the faceless guy, I would do that.

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