Song Quotes - Page 115

Whatever be the depth of woe Along the path that I must go, I'll sing my song— My song of joy for all the love That's lavished on us from above, And count no loss of treasure-trove When things go wrong. I'll sing the sunlight, and the bright Soft smiling stars that gem the night; For gifts of good That God hath spread along my way, The lilt of birds in tuneful play, The harvests full and flowers gay, The whole day long I'll sing my song Of gratitude!

I think a solo moves forward the way a song does, because it's reflective of the chords that I'm considering as I'm soloing, and at the same time I'm going as much out on a limb as Frank Zappa used to, in terms of just going crazy on the instrument.

The song tells me what to play.

Song ideas have come to me in the middle of interviews, in the shower, or while I'm writing another song.

Rhythm and sex go together and that's where I come from as far as the music goes. Rag Doll and Love In An Elevator are such sexual songs that you put them on & the strippers go NUTS!

I drew it over my skin like a violins bow, No one would ever hear the song of my shame.

I have a voice that's obviously untrained - and I think untrainable - so I kind of secreted it away for a long time. Actually, I would write songs with lyrics when I was younger, but I would just sing in my head.

I was writing "Diamonds and Rust' and it had nothing to do with what it turned out to be. I don't remember what it is, but I think I was writing a song. It was literally interrupted by a phone call, and it just took another curve and it came out to be what it was.

Right from day one, you know when you've written a good song.

The people who are making money are the ones who are writing and singing their own songs.

There's something missing in the music industry today... and it's music. Songs you hear don't last, it's just product fed to you by the industry.

I want to sing more in Spanish. I want to sing the songs of Granados; the songs of Montsalvatge. To do things that truly I've not done before.

Love is what makes you do everything. It really does conquer all. With my first album, I was writing about empowerment hoping that would make it true. And now it is. I'm in charge. I make the rules. I've been writing since I was nine years old and I'm very much involved in the creative process. And now that I'm in a happier place in my personal life, I'm spitting songs out left and right.

In a novel, the biggest symbiosis exists between plot and character. In a song, it would be the lyrics and the melody.

You shake my nerves and you rattle my brain, too much love drives a man insane. You broke my will, but what a thrill. Goodness gracious, great balls of fire.

I really enjoy playing solo acoustic. I think it's good for me as a songwriter to stay in touch with what it takes to make a song work by yourself.

If she says goodbye perhaps adieu. Adieu - like those old time songs she sang. Always adieu (and all songs say it). If she too says it, or weeps, I'll take her in my arms, my lunatic. She's mad but mine, mine. What will I care for gods or devils or for Fate itself. If she smiles or weeps or both. For me.

My place in Scotland is in the middle of nowhere, so you've just got a keyboard, guitar, a little drum machine and you know if you can work stuff out like that, if you can hammer out songs that sound good just with those three things and a voice, you're on your way.

By the end of the writing process, which is about 80 songs per album, I look at the material and think, what's going to make a difference in someone's life.

Country music in the mid-'90s was a big influence on my career, and I played all the songs that are referenced in '94' back in my club days. Joe Diffie was rocking a sick mullet, and he was hotter than ever... just putting out monster hit after monster hit. It totally takes me back to those days, and it makes me smile every time I hear it.

It is a process of discovery. It's being quiet enough and undisturbed enough for a period of time so that the songs can begin to sort of peek out, and you begin to have emotional experiences in a musical way.

A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.

Music being “good or bad” is a flawed idea. Artists make what they want to make and we either connect with it or we don't. Just because we relate to some songs more than others doesn't make the others less valid, we just don't understand them. In fact, we aren't meant to, and that's all right.

I wrote the song For A Dancer for a friend of mine who died in a fire. He was in the sauna in a house that burned down, so he had no idea anything was going on. It was very sad.

Rather than recallin these flowersthe fragrance of the past,I would like to hear this nightingale's voice,to know if his song is as sweet.