Quotes of All Topics . Occasions . Authors
I know where my heart is and I know that I can make people feel something with my music. I'm quite confident in what I am doing, so if I can also make a song that people want to put in ten times during a party and makes them happy, then I think that is also good. I feel that playfulness is something that has entered my life a lot more in the last couple of years. I'm not taking everything too seriously. I think that is something that comes with age - I hope. I feel that music is much more fun for me than it has ever been.
I opened up my mind as far as playing music. I was at a Cody Chesnutt concert a few years ago, and a friend introduced me to him. We just started talking about music, and he asked me what I did. I said, "I have these songs and I'm kind of nervous to put them out, because I've just kind of been playing blues stuff, and playing other people's songs." He said, "You should just put them out there, man. Why not? It's just gonna bother you if you don't. The easiest thing to do is to just let it go." So I just took that with me.
Seek to make life henceforth a consecrated thing; that so, when the sunset is nearing, with its murky vapors and lowering skies, the very clouds of sorrow may be fringed with golden light. Thus will the song in the house of your pilgrimage be always the truest harmony. It will be composed of no jarring, discordant notes; but with all its varied tones will form one sustained, life-long melody; dropped for a moment in death, only to be resumed with the angels, and blended with the everlasting cadences of your Father's house.
Perhaps it would have been easier if I said that not being able to find something is like suddenly not remembering the words to your favorite song that you knew by heart. It’s like suddenly forgetting the name of someone you know really well and see every day, or the name of a television show you watched for years. It’s something so frustrating that it plays on your mind over and over again because you know there’s an answer but no one can tell you it. It niggles and niggles at me and I can’t rest until I know the answers.
The only Train song I like is the one that I play in my act "Drops Of Jupiter". Sheryl Crow has three or four songs that I like; also Dave Matthews Band. With those particular musicians, it's more that there are a few songs that I like rather than their entire body of work. There are a lot of indie bands that I like too. I'm not a snob about music. Does the fact that I like Stephen Sondheim and Broadway musicals make me a fake? Does the fact that I'm "the Billy Joel of comedy" mean that I don't have indie-rock credibility?
I started as a drummer, so I sort of took on singing duties by default. I had sung backgrounds and some lead vocals from behind the drums in different bands that I'd been in, and I'd gotten great responses for the songs I would sing. I really started pursuing the possibility of being a lead singer based on the fact that I was working a full-time restaurant job and then playing gigs at night, hauling drums around. One day, it just dawned on me that, 'Hey, I could be in a band and be the singer, and it would be a lot easier!'
The reason I've gotten into script-writing, which was accidental to begin with, was that I found it was a far more effective medium for violence. Which is something that I'd always written in songs, but the violence always sat strangely within a song. And I was always interested in the way in which you listen to murder ballads and things like that - these weird lines would kind of come out, like, I drug her by the hair or something - that sat weirdly in the song. Film seems to be a medium designed for betrayal and violence.
The chords in 'Light My Fire' are based on [John] Coltrane's version of this song. He just solos over A minor and B minor, which is exactly what we did. Coltrane had played with Miles on Kind of Blue and took the idea of modal soloing over one or two chords farther out than anybody. He was a real pioneer - he just kept evolving, going where no one had ever gone. He could always attain this state of ecstasy when he played. Live, there was so much energy, you couldn't believe it. He would play for hours. It was indescribable.
I don't consider myself very principled. As a travelling musician, you have to adapt and adjust to different contexts every day. It is always difficult to connect preach and practice. For instance, I fly more in a year than I had hoped to do in my whole life. I eat what people serve me, not what I think is right. I tried writing songs that were principled, but always ended up contradicting myself when trying to convert the principles into practice. In fact, these days I try not to be too principled, but rather be pragmatic.
The first thing I did when I got inside was turn on the kitchen light. Then I moved to the table, putting my dad's iPod on the speaker dock, and a Bob Dylan song came on, the notes familiar. I went into the living room, hitting the switch there, then down the hallway to my room, where I did the same. It was amazing what a little noise and brightness could do to a house and a life, how much the smallest bit of each could change everything. After all these years of just passing through, I was beginning to finally feel at home.
The best thing is to go from nature's God dawn to nature; and if you once get to nature's God, and believe Him, and love Him, it is surprising how easy it is to hear music in the waves, and songs in the wild whisperings of the winds; to see God everywhere in the stones, in the rocks, in the rippling brooks, and hear Him everywhere, in the lowing of cattle, in the rolling of thunder, and in the fury of tempests. Get Christ first, put Him in the right place, and you will find Him to be the wisdom of God in your own experience.
Martin Swinger is one of those rare singer-songwriters who excels at everything: singing, songwriting, guitar-playing, and being so present with his humor, tenderness, and wild mind that his performances are also deep conversations, soul to soul and heart to heart, about the quirks, surprises, and love that brings us most alive. His songs, ranging from the little plastic parts that hold the world together, to what enlightenment comes from Buddha and Betty Boop falling in love, are whimsically and wisely original and enduring.
I wonder why we always deny love. I remember in middle school, if you were accused of the crime of loving, you screamed denials constantly and stopped ever even looking at the boy you were accused of liking. The boys could destroy each other by yodeling, "An-drew lo-oves Jen-nie," and both Andrew and Jennie would flinch and blush. Love is this great thing that most songs and books and poems and lives are all about. So the minute we actually think there might be love around, we start laughing and pretending and hiding from it.
Our music is honest. We are who we are... messed up, dysfunctional sinners that have been loved in spite of our hate. We don't deny that we live in a evil world and that we have been evil people and we have evil tendencies... but we also have touched righteousness through our faith in Christ.. and we have received salvation, hope, and love... So our songs always acknowledge this truth and in turn we hope they bring faith, hope and love into the midst of the selfish, fearful hatred that makes up so much of the world we live in.
I think a lot of my interest in history now isn't so much in places and names and texts and public figures, but more in examining all the nuances and idiosyncrasies of particular stories of everyday people. And if that doesn't happen, then I usually transplant myself and my own stories to a particular historical event. Which is why you'll see me, the first person pronoun, interacting in a song about Carl Sandburg, or you'll find my [sic] interacting with Saul Bellow. It's sort of a re-rendering of history and making it my own.
There's a story... a legend, about a bird that sings just once in its life. From the moment it leaves its nest, it searches for a thorn tree... and never rests until it's found one. And then it sings... more sweetly than any other creature on the face of the earth. And singing, it impales itself on the longest, sharpest thorn. But, as it dies, it rises above its own agony, to outsing the lark and the nightingale. The thorn bird pays its life for just one song, but the whole world stills to listen, and God in his heaven smiles.
What good men most biologists are, the tenors of the scientific world - temperamental, moody, lecherous, loud-laughing, and healthy. Your true biologist will sing you a song as loud and off-key as will a blacksmith, for he knows that morals are too often diagnostic of prostatitis and stomach ulcers. Sometimes he may proliferate a little too much in all directions, but he is as easy to kill as any other organism, and meanwhile he is very good company, and at least he does not confuse a low hormone productivity with moral ethics.
As you can imagine, over the years I have been asked many times to discuss and explain my song "American Pie." I have never discussed the lyrics, but have admitted to the Holly reference in the opening stanzas. You will find many interpretations of my lyrics but none of them by me. You will find many “interpretations” of my lyrics but none of them by me. Isn’t this fun? Sorry to leave you all on your own like this but long ago I realized that songwriters should make their statements and move on, maintaining a dignified silence.
I think my philosophy on music is sort of like the difference between religion and spirituality or religion and faith. There's a lot of bullshit in the music industry. It's really tough to get a leg up and navigate around your gender and stereotypes. You feel hopeless, [but] all of that disappears the minute that I start writing a song. Then I record something and have that magical feeling. You have to have the negative and the positive. Trying to own that and go to that place in yourself creatively is the most important thing.
Writing is for stories to be read, books to be published, poems to be recited, plays to be acted, songs to be sung, newspapers to be shared, letters to be mailed, jokes to be told, notes to be passed, recipes to be cooked, messages to be exchanged, memos to be circulated, announcements to be posted, bills to be collected, posters to be displayed and diaries to be concealed. Writing is for ideas, action, reflection, and experience. It is not for having your ignorance exposed, your sensitivity destroyed, or your ability assessed.
No words can express how much the world owes to sorrow. Most of the Psalms were born in the wilderness. Most of the Epistles were written in a prison. The greatest thoughts of the greatest thinkers have all passed through fire. The greatest poets have "learned in suffering what they taught in song." In bonds Bunyan lived the allegory that he afterwards wrote, and we may thank Bedford Jail for the Pilgrim's Progress. Take comfort, afflicted Christian! When God is about to make pre-eminent use of a person, He put them in the fire.
When Adam's House Cat broke up in 1991, which was Cooley and my band for six years, I put my entire life, heart, and soul into that thing. I mean everything. I ended up getting divorced over it, and then the band broke up and I was left with nothing. I had nothing to show for six years of my life except for a finished record that still hasn't come out. And I went through a pretty deep, dark, two-year depression after that, [which] probably resulted in some of the earlier songs that became Drive-By Trucker songs, for that matter.
Come away with in the night Come away with me And I will sing you a song Come away with me on a bus Come away where they can't tempt us With there lies I want to walk with you On a cloudy day In fields where the yellow grass grows Knee-high So won't you try to come Come away with me and we'll kiss On a mountain top Come away with me And I'll never stop loving you And I want to wake up with the rain Falling on a tin roof While I'm safe there in your arms So all I ask is for you To come away with me in the night Come away with me.
I guess I don't really know any other way to do it, it just feels like the natural way to do things for me. Like - if I'm writing a song - it has to have some sort of value. Or it only has some kind of value to me, if it's something really personal. It has to mean something to me. I guess it is a little uncomfortable, or it's a little embarrassing sometimes, to know that stuff that honest is out there. But, when I hand off the thing, when it's totally done and mastered and sent, I kinda feel like it doesn't belong to me anymore.
I have a weird life because I live on songwriting royalties, which are a strange income. Sometimes it rains, sometimes it doesn't. ... I want to grow up with my audience. I don't expect to be getting through to the younger pop crowd. I learned that from Paul Simon. ... When you blame yourself, you learn from it. If you blame someone else, you don't learn nothing, cause hey, it's not your fault, it's his fault, over there. ... People have told me songs I've written have changed their life. That's remarkable. That keeps your faith.
Paul Simon once said that a songwriter's supreme challenge was being complex and simple at the same time-writing songs with lasting depth that are also simple enough to be memorable. Jimmy Van Heusen was a master at this kind of song. His music was complex, with deeply rich chord changes any jazzman can embrace, but also possessed catchy, crystalline melodies of exceeding sing-ability. His songs were meant to be sung, not just listened to, and they were sung by the best, with Frank Sinatra and Bing Crosby at the top of that list.
I think the best thing about music is that someone could be writing a song that's so personal, and it tells so many other people's story at the same time. It kind of exemplifies that we are all kind of on the same wave[length] - it's amazing how comforting somebody else's story can be, because we have experienced their story in some way or another, and I can totally relate, and I get to feel that feeling and the expression of that emotion. I get to feel like as a listener, that somebody understands me, which is pretty incredible.
When I saw how much the message of the song resonated with people I began to realize we're all on the same journey of discovering who we are. Why else would the bookstores be filled with self-help books? That's why I wanted to write Hello My Name Is; as a powerful reminder that when it comes to getting to the core of who we are, we simply can't help ourselves. Left to our own devices, we'll wander down a wide road filled with people slapping false identities on us at every turn. I've walked that road, and I don't want to anymore.
Irony is the disparity between what you expect will happen, and what does happen. So raining on your wedding day isn't ironic, it's just crappy. It would have been ironic if she had lived in a place like Seattle, and traveled to the desert of Mexico for a wedding and it ended up raining there, but not in Seattle. Alanis always gets the last laugh though. We all sit here, saying her song isn't ironic, but in fact, that's pretty ironic that she wrote a song called Ironic that wasn't really ironic. Those Canadians are pretty crafty.
He [Benny Carter] is all that every jazz musician the world over wants to be. He's performed 20,000 nights. How many shoes have been shined? How much mascara put on? Rouge? How many of those impossible bowties have been tied? How many love songs have been sung? How many dances have been danced? How many have passed to the sound of his music? It's been said that a man should not be forced to live up to his art. Benny Carter is one of the rare instances when we wonder whether the great art that a man has created can live up to him.
When music sounds, gone is the earth I know, And all her lovelier things even lovelier grow; Her flowers in vision flame, her forest trees Lift burdened branches, stilled with ecstasies. When music sounds, out of the water rise Naiads whose beauty dims my waking eyes, Rapt in strange dream burns each enchanted face, With solemn echoing stirs their dwelling-place. When music sounds, all that I was I am Ere to this haunt of brooding dust I came; And from Time's woods break into distant song The swift-winged hours, as I hasten along.
It'd be negligent to say that I don't want to be at the top of the charts. Of course I do, it's proof that your song is being heard. But I think it's more about the work for me and being proud of what I'm doing in music than what people think about my music. I want to like my music before you like it. I don't want to sell anything that I don't really like. I don't want to sell myself short just to get to the top of the charts. It doesn't feel that great. Feeling proud of your work feels greater than being at the top of the charts.
The problem with working with a record label is they maybe a song I want to make a video for that they will refuse to make a video for because they don't see that song as a single. And I found that very frustrating. I realised what I was doing was making these short films for the blind. They were films and all you had to do was put some headphones on and close your eyes and listen to my voice and you'd be able to visualise the images that I'm putting into your brain. And so I started calling what I was doing 'films for the blind'.
I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.
Saying you're a pop group isn't saying very much. Personally, when I think of pop, I think of instant, accessible, catchy songs - I definitely identify our music as that. I think that by writing pop, or instant, accessible or hopefully catchy music, it shoes you into bigger audiences because it seems that more people like that music. I think the possibilities are endless if you stick to a simplistic short song; the music can be as wild and bizarre as you want it to be, as long as at the core of it, there's something really strong.
My pacifism came after I joined the army and was shipped over to Korea. There was a little one-room orphanage there called Song-do. There were 180 babies in there, and they were GI babies. The U.S. government would not acknowledge this, and the Korean government had nothing to do with them. They were living on a 100-pound bag of rice a month. Some of those kids, when they were old enough, would go out and shine shoes. They would show up at the gate of our compound to shine shoes, and you'd swear they were looking for their fathers.
In Shanghai, I saw great contrasts. On one street there would be impressive shops selling copies of the latest word in glamorous European fashion, and around the corner on a back street there were poor families crammed into one room with a naked light bulb. One evening I heard a Chinese family singing "Happy Birthday." It was weird. You would have thought that they'd have their own happy birthday song. Every dominant society in the world - whether it's French or British or American - imposes its culture on less developed societies.
As a songwriter, I try not to be sloppy; same with the music. You can be very lean, very efficient, so you're not wasting a lot of time getting' to the point. You're saying it with as pure a word or phrase as you can. That's the part that was craft. You refine and refine and refine. Maybe that's why the songs still hang on, because they're very pure. For one thing, they're very short. "Bad Moon Rising" is like 2 minutes and 12 seconds. I would try to do everything as quickly and with as little extra as possible. It was a challenge.
The old men of the village of Mahotière say that the Mistress of the Water is a mulatto woman. At midnight she comes out of the spring and sings while combing her dripping long hair, which makes a sound sweeter than a violin. It is a song of perdition for whomever hears it. There is no sign of the Cross, no "Our Father" to save him. Her curse takes him like a fish in a net and the Mistress of the Water awaits him on the edge of the spring and smiles upon him and tells him to follow her to the depths, from which he will never return.
God Bless America started to become an almost ritualistic incantation at the end of political speeches really with Ronald Reagan. It appears occasionally before, but it was not that common. And of course since it was a song that wasn't written by Irving Berlin until the 20th century (laughter), none of the 19th century presidents said God Bless America at the end of speeches, either. I think that the symbolism which suggests that everybody is religious and that even presidents who believe in church and state feel obliged to do this.
I think people take Blink-128 more seriously now than they did before. And it's largely our fault because we called our records Enema of the State and Take Off Your Pants and Jacket. We were always kind of the underdogs, especially critically. People wrote us off as this joke band. But the people who listened to Blink knew that we were silly and whatever, but we wrote songs about divorce and suicide and depression. Those kids that were listening to Blink are now the ones that control all these outlets that used to just write us off.
One of the best records I’ve ever heard. Seriously, maybe top 20 all-time… I think if Rich Mullins had been given more time here, and if God had blessed his life with love and a wife, if he had the chance to see as much of the relational beauty as he saw of the natural beauty, I think he might have written some songs like the ones we find on BiRDS OF RELOCATiON. And you know that’s about the highest praise I can give someone. You will not find a combination of more beautiful poetry, raw honesty, and gorgeous melodies for a long time.
But if you love and must needs have desires, let these be your desires: To melt and be like a running brook that sings its melody to the night. To know the pain of too much tenderness. To be wounded by your own understanding of love; And to bleed willingly and joyfully. To wake at dawn with a winged heart and give thanks for another day of loving; To rest at noon hour and meditate love's ecstasy; To return home at eventide with gratitude; And then to sleep with a prayer for the beloved in your heart and a song of praise on your lips.
People sometimes ask me if I would not give anything to be white, I answer, in the words of the song, most emphatically, 'No.' How do I know what I might be if I were a white man? I might be a sand-hog, burrowing away and losing my health for $8 a day. I might be a street-car conductor at $12 or $15 a week. There is many a white man less fortunate and less well equipped than I am. In fact, I have never been able to discover that there was anything disgraceful in being a colored man. But I have often found it inconvenient - in America.
I grew up in the time just when cassettes were waning and CDs were growing. And so mix tapes - and not mix CDs - mix tapes were an important part of the friendship and mating rituals of New York adolescents. If you were a girl and I wanted you - to show you I like you, I would make you a 90-minute cassette wherein I would show off my tastes. I would play you a musical theater song next to a hip-hop song next to an oldie next to some pop song you maybe never heard, also subliminally telling you how much I like you with all these songs.
I write a lot of songs about love and I think that’s because to me love seems like this huge complicated thing. But it seems like every once in a while, two people get it figured out, two people get it right. And so I think the rest of us, we walk around daydreaming about what that might be like. To find that one great love, where all of a sudden everything that seemed to be so complicated, became simple. And everything that used to seem so wrong all of a sudden seemed right because you were with the person who made you feel fearless.
With the project where I'm making something with my own name, my main mission statement is honesty. I never want to hold back from what I'm saying for fear of showing it to people. At the same time, I try to take my own personal experiences and problems and wrap them around lyrics that are a little more universal and not naming names. I don't let it get that personal. That's not really a fear of over-sharing, it's just what makes a good song. I want to get people to listen to it and to find a universal aspect of what I'm trying to say.
When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff. But there's this thing that happens when the song first comes out, that sort of magic when it first comes out of the ether, and you can't even really explain where it comes from. That happens so much with music, and people understand that with music. But I really think that a lot of movie and TV should be the same way.
If my songs are being listened to between any other songs, that is awesome, and I'm glad people are getting something out of them. We go to countries like Germany, where I can't imagine that all of my fans are engaging with the lyrics first and foremost. I think they're catching a vibe, a feeling. I consider myself a lyricist first and foremost, but if you get something else out of what I do, that's fine too. I'm not sitting back and telling people how they have to take my stuff. We just want to play music, and hope that people like it.
The constants all through the centuries will be the same; wine, women and song. Other than that, life will be very different technologically. In the year 3000 the universe will be expanding as it will forever, infinitely. We will probe outer space but never find life as evolutionized as ours. We were not created by a deity. We created the deity in OUR image. Life began on this planet when the first amoeba split. Mankind will still be seeking God, not accepting that God is a spirit; can't see it, touch it, only feel it. It's called LOVE.
