Song Quotes - Page 209

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My dad one time told me, he was like, 'The only time you should lie is when someone's holding a gun to your head and says 'Okay, lie or I'm going to shoot you.' And that really stuck with me. I think about that a lot. I used to not be really honest with girls and then I dropped a song called "Starry Room" and then I started turning over a new leaf. Now, I'm completely honest with girls all the time and they just get mad at me.

Here's some free advice; like the folkies of yore, you need to be not just a writer of songs, you need to be a lover of songs, a listener of songs and a collector of songs. If you hear a song in a club that knocks you out or you hear an old recording of a great song you never knew existed, it does not diminish you to record it; it actually exalts you because you have brought a great song from obscurity to the ear of the public.

Suzanne had a room on a waterfront street in the port of Montreal. Everything happened just as it was put down. She was the wife of a man I knew. Her hospitality was immaculate. Some months later I sang it for Judy Collins over the telephone. The publishing rights were lost in New York City, but it is probably appropriate that I don't own this song. Just the other day I heard some people singing it on a ship in the Caspian Sea.

I just tried to come up with some honest songs. What I was writing about was real plain stuff that I wasn't sure was going to be interesting to other people. But I guess it was...I've never had any discipline whatsoever. I just wait on a song like I was waiting for lightning to strike. And eventually-usually sometime around 3 in the morning-I'll have a good idea. By the time the sun comes up, hopefully, I'll have a decent song.

The only reason I do anything is that I just love writing songs. If I write songs, I feel good about it for days and that's the only reason I do it and it is the only reason I'm in a band. And it's the touring aspect, getting out there, seeing the world, meeting people. It's all I ever really wanted, you know. And it's kind of ever since I was fourteen, I was compelled to do it. I just don't really know what it is or why it is.

Sometimes I'll hear some music in my head or I'll go to the piano and mess around and come up with a tune, or be on the guitar and come up with some chords - or I'll come up with lines, or just some words, or just a sentence. It could be the title of a song. I do that all the time. I write titles of songs a lot. And sometimes I'll end up writing a song that I don't have a title for and I'll say, "Oh, this goes with that title".

When we focus on the song of our soul and heart, then others will be touched similarly. Sometimes people wonder or worry whether people will like or approve of their creative expression. It's none of your business. It's your business to stay present and focused for the work of your deepest dreams. It might look crooked or strange, or be very odd- but if it delights you, then it is yours, and will find its way into other hearts.

We haven't started playing it live yet but we're going to. And then 'Warpaint' is a song that's really, really close to me because it's actually - we've had that song for many years now and it's changed so many times, it's been through every reincarnation of our band with every drummer, with sometimes with me playing drums, it was when we were a three-piece, every incarnation of the band that we've had we have played that song.

No. Take the heart first. Then you don't feel the cold so much. The pain so much. With the heart gone, there's no reason to stay your hand. Your eyes can look on death and not tremble. It's the heart that betrays us, makes us weep, makes us bury our friends when we should be marching ahead. It's the heart that sickens us at night and makes us hate who we are. It's the heart that sings old songs and brings memories of warm days.

My two young producers, Fernando Perdomo and Chris Price, had to explain to me that there's a division right now between the two sides. They took three living, breathing percussionists to do the beats on the song "Intensity". We've got all kinds of layers, because I kept saying we didn't get all the beats. If you hear a synth, it's because I put my foot down. But I had to fight for it because they wanted it all totally organic.

The words to country songs are very earthy like the blues. They're not as dressed up and the people are very honest and say, 'Look, I miss you darlin', so I went out and got drunk in this bar.' That's the way you say it. Where in Tin Pan Alley they would say, 'Oh I missed you darling, so I went to this restaurant and I sat down and had a dinner for one.' That's cleaned up now, you see? But country and blues tells it like it is.

There's still a feeling that uncensored emotions make a good song. They don't. Pure emotion is just somebody screaming at you, or crying. It doesn't communicate anything. It has to be mediated with some skill and craft, in order to communicate it to a second, a third, or a fourth person. That doesn't make it any less real. And it doesn't make it any less true. But it does mean that, yeah, it's the combination that makes it work.

Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.

I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.

I lay my tasks down one by one; I sit in the silence of twilight grace. Out of the shadows, deep and dun, Steals, like a star, my Baby's face. .... I will take up my work once more, As if I had never laid it down. Who will dream that I ever wore, In triumph, motherhood's sacred crown? .... Nevertheless, the way is long, And tears leap up in the light of the sun. I'd give my world for a cradle-song, And a kiss from Baby?only one.

Most of the time, the songs have jokes in them, little sarcastic things, or purposely kitsch or something. So that's going along with a story, like I do in life, just talking to myself and making fun of stuff and laughing at stuff that's serious. And sometimes it's a good idea to put the laughing into the songs. Sometimes it's not. Sometimes it's all right just to be serious. But most of the songs have some kind of joke in them.

When I was producing the first solo album, i just wanted to convey some messages through it. The message was 'no blood will come out even if I am pinned' However, after trying out different kinds of music activities, I started to change and wanted to convey my real emotion that I have in my everyday life. I want to express the feelings that everyone has felt at least once, in music so I think people will feel/understand my songs.

I kind of, I have quite a clear idea of what I'm trying to do with a record. A Super Furry Animals record is always an adventure, because there's five members of the group and everyone is a producer, we all throw in ideas, and regardless of who writes the song, the songs always get pushed around and shape-shifted to fit everyone in the band. So when I start a record with Super Furry Animals I can never predict how it'll turn out.

I think of myself more as an actress. I do my music because I'm very passionate about my music. I love making music. I love inspiring people. I love making great songs that are just really fun. But that's all it usually is for me. I love touring and singing great songs. I don't think I'll ever win a Grammy one day, and I'm totally fine with that. I do work really hard when it comes to acting and I want to do that for a long time.

I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to gods, loved women, and written songs that make the minstrels weep. You may have heard of me.

Because music, like color, or a cloud, is neither intelligent nor unintelligent - it just is. The chord, the simplest building block for even the tritest, silliest chart song, is a beautiful, perfect, mysterious thing, and when an ill-read, uneducated, uncultured, emotionally illiterate boor puts a couple of them together, he has every chance of creating something wonderful and powerful. All I ask of music is that is sounds good.

I was attracted to the aesthetics of post-punk bands and also their specific histories. Some of these acts could have achieved the level of fame of Joy Division or other peers, but circumstances didn't allow for it. I was looking at some old music charts in the magazine Vinyl - and all these songs had a brief moment in the Top 20 in various European countries. Then, they vanished. It's really fascinating, and sometimes a bit sad.

Genial manners are good, and power of accommodation to any circumstance, but the high prize of life, the crowning fortune of a man is to be born with a bias to some pursuit, which finds him in employment and happiness, -- whether it be to make baskets, or broadswords, or canals, or statutes, or songs. I doubt not this was the meaning of Socrates, when he pronounced artists the only truly wise, as being actually, not apparently so.

I would never sit and write a song in front of anyone, because you're so vulnerable. I don't know at what point in the process that it becomes acceptable to pass them on. When a song wants to be written, it will be written. When it does come, I will very rarely go back and edit lyrics. I'm quite a rational human being, and the only part of my life that I can't rationalise, or can't make sense of, is how a song gets written or why.

Drop guilt! - because to be guilty is to live in hell. Not being guilty, you will have the freshness of dewdrops in the early morning sun, you will have the freshness of lotus petals in the lake, you will have the freshness of the stars in the night. Once guilt disappears you will have a totally different kind of life, luminous and radiant. You will have a dance to your feet and your heart will be singing a thousand and one songs.

I really lucked out with that song ["As Cool As I Am"]. Men were becoming much more comfortable with all the different facets and parts of their identity, including their gentler, funnier, sillier, nurturing parts. They started showing up. There was so much exploration of gender at that time. Women were showing up with the range of ways of being female in the world and men were showing up with the range of being male in the world.

The world is filled with people who are no longer needed. And who try to make slaves of all of us. And they have their music and we have ours. Theirs, the wasted songs of a superstitious nightmare. And without their music and ideological miscarriages to compare our songs of freedom to, we'd not have any opposite to compare music with - - and like the drifting wind, hitting against no obstacle, we'd never know its speed, its power.

Life's an act of magic, too. Claire Hamill sings a line in one of her songs that really sums it up for me: 'If there's no magic, there's no meaning.' Without magic- or call it wonder, mystery, natural wisdom- nothing has any depth. It's all just surface. You know: what you see is what you get. I honestly believe there's more to everything than that, whether it's a Monet hanging in a gallery or some old vagrant sleeping in an alley.

Port Talbot is a steel town, where everything is covered with gray iron ore dust. Even the beach is completely littered with dust, it's just black. The sun was setting, and it was quite beautiful. The contrast was extraordinary, I had this image of a guy sitting there on this dingy beach with a portable radio, tuning in these strange Latin escapist songs like 'Brazil.' The music transported him somehow and made his world less gray.

It wasn't until I moved to Nashville that I realized what an amazing community it is. It's the thing I've been missing my whole career, the feeling of being able to sit around with a guitar and have people know each other's songs and know songs from people who've influenced all of us. When I moved here pretty early on Vince Gill started calling me to do guitar pulls, and I thought, gosh, this is just like heaven on earth down here.

Men are so inclined to content themselves with what is commonest; the spirit and the senses so easily grow dead to the impressions of the beautiful and perfect, that every one should study, by all methods, to nourish in his mind the faculty of feeling these things. ...For this reason, one ought every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.

I feel like the inspiration is that I've managed to change my songwriting over the past couple of years and also production styles. I could get a sense of what really worked well, and I think this sound developed naturally. That's what happens when you're doing it all the time and changing as a person. Some songs were really dark, and others were more psychedelic. It was useful to have that to figure out exactly what I wanted to do.

The time came around where the label was like, "Well, if you want something to come out in early 2017, it's going to have to be done by, like, so-and-so." So I plucked some of the old songs and wrote some new ones. Everybody keeps asking me, "Is this your L.A. record?" I was doing songs in a bedroom in New York, I was doing it in a bedroom in L.A. The only difference is when I look out the window, there's palm trees instead of snow.

At the end of the day, if I do a set at a festival and I only have an hour, which is kind of short for a DJ set, I know that I have to play at least six of my songs. Then the whole challenge is what do I weave around that. How do I stand out? Because at a festival there's probably fifteen songs every DJ's going to play every hour, for the whole day. That to me is more interesting, because I still feel like an outsider in this world.

This is total war. We are fighting a variety of enemies. There are lots of them out there. All this talk about first we are going to do Afghanistan, then we will do Iraq... this is entirely the wrong way to go about it. If we just let our vision of the world go forth, and we embrace it entirely and we dont try to piece together clever diplomacy, but just wage a total war... our children will sing great songs about us years from now.

As the days go on toward July, the earth becomes dry and all the flowers begin to thirst for moisture. Then from the hillside, some warm, still evening, the sweet rain-song of the robin echoes clear, and next day we wake up to a dim morning; soft flecks of cloud bar the sun's way, fleecy vapors steal across the sky, the southwest wind blows lightly, rippling the water into little waves that murmur melodiously as they kiss the shore.

My dad [Johnny Cash] went to the [Richard] Nixon White House and refused to sing "Welfare Cadillac" (instead performing the anti-war songs "The Ballad of Ira Hayes" and "Man in Black"). He protested the Vietnam War, but he went to perform for the troops with bombs dropping all around him. He had that kind of genius: a true artist's capacity for holding two opposing thoughts at once while being large enough to encompass all realities.

I feel like a lot of people look at pop music with a very formulaic perspective in numbers and patterns, but an outsider would think that the process is very natural. It is, but there are a lot of times where people treat it like a sport - there are tricks you can pull, different combinations that make something better. I don't really think I approach it that way, but I definitely have a love for the science that is pop song writing.

I think we're definitely playing up to characters. We see ourselves as a pop band. I don't have a pseudonym because I don't really need one, because I've got a weird name, but everyone has a stage name, and it's about a certain amount of escapism, really. The songs are inspired by the personal, but because there are seven of us that work on the songs together, they end up becoming Pipettes songs, rather than about any one individual.

At the beginning of my career, I saw an opportunity to forge new ground and focus on songwriting. Not many people were doing that at the time. Pretty much nobody. I thought I could write some really cool songs that would rise above all these dozens of genres that exist within dance music. I'd make it more about the songs. For the last 20 years, I've been sharing stories of my life through music. I've been writing songs about my life.

But there were years when, in search of what I thought was better, nobler things I denied these, my people, and my family. I forgot the songs they sung - and most of those songs are now dead; I erased their dialect from my tongue; I was ashamed of them and their ways of life. But now - yes, I love them; they are a part of my blood; they, with all their virtues and their faults, played a great part in forming my way of looking at life.

I feel like you're being coy if you don't do something and celebrate the 20th or 25th anniversary in some way. Just as I've never, ever had any kind of embargo on playing songs from Endtroducing, no matter how much I wanted people to like my new stuff - I've never, ever stopped playing Endtroducing, for that reason as well. It's a give and take - it's a balance. If there's one theme, I guess, to this entire discussion, then it's that.

I had been DJing a dance night in Brooklyn and witnessed the response people had to "The Devil's Dancers" - Oppenheimer's one hit song. All these young people were dancing to this amazing song, completely unaware of whether it was current or not. It was from 1982, but sounded very current. It made sense that a physical record should exist for this song again. It seemed the obvious choice to represent what Minimal Wave was going to be.

Someone once said that "The Waste Land" was a scum of poetry floating on a sea of footnotes. That resonated with me, because that's kind of what I was doing lyrically for a while. I was being very referential in a way. I would drop in these little phrases or ideas that were sort of portholes into a whole bigger realm of thought or whatever, that would work within the song, but that you could also poke through into a bigger discussion.

If you're a song writer, it's a bit different because you are expressing your own words, feelings, perspective. As an actor, you are doing your best to interpret and express the root of the character's perspective which have been established by the writer. There are parallels of performing. Tapping into your own emotional piggy bank. The biggest commonality is if you are successful in either industry, you get free snacks all the time.

If thou speakest not I will fill my heart with thy silence and endure it. I will keep still and wait like the night with starry vigil and its head bent low with patience. The morning will surely come, the darkness will vanish, and thy voice pour down in golden streams breaking through the sky. Then thy words will take wing in songs from every one of my birds' nests, and thy melodies will break forth in flowers in all my forest groves.

I have a song I wrote called “Autobiography.” I came from a very intense living situation, with having a parent on drugs and not having a lot of money. So I always want to talk about the real things. But I think 90 percent of my music, I want it to be 'feel-good music'. I'm already recording tracks for my album, but when it comes time to actually say, 'this is the album,' I may be in a completely different space than I'm in right now.

I used to wonder why Lucy liked those songs so much. You know what I mean? She sits in the dark and listens and cries. Music does that to her...I didn't understand for a long time. But I do now. The sad songs are a safe hurt. It's a diversion. It's controlled. And maybe it helps you imagine that real pain will be like that. But it's not. Lucy knows that, of course. You can't prepare for real pain. You just have to let it rip you apart.

I wish I could just make you turn around, turn around and see me cry There's so much I need to say to you, so many reasons why You're the only one who really knew me at all So take a look at me now, 'cos there's just an empty space And there's nothing left here to remind me, just the memory of your face Take a look at me now, 'cos there's just an empty space And you coming back to me is against all odds and that's what I've got to face

Love exciting and new, come aboard, hes expecting you. If you listen to the lyrics its all about Jesus. Its a whole new approach to that song. I do that whenever I get into a group of believers, because it gave me - I said, wow, the Lord didnt tell me about that until how many years we were off the air. And its really about Come aboard, Jesus will take care of you. Theres a new love waiting for you. A love that will never let you down.

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