Song Quotes - Page 173

I shot an arrow into the air, It fell to earth, I knew not where; For, so swiftly it flew, the sight Could not follow it in its flight. I breathed a song into the air, It fell to earth, I knew not where; For who has sight so keen and strong, That it can follow the flight of song? Long, long afterward, in an oak I found the arrow, still unbroke; And the song, from beginning to end, I found again in the heart of a friend.

Learning to sing one's own songs, to trust the particular cadences of own's voices, is also the goal of any writer.

In Homer and Chaucer there is more of the innocence and serenity of youth than in the more modern and moral poets. The Iliad is not Sabbath but morning reading, and men cling to this old song, because they still have moments of unbaptized and uncommitted life, which give them an appetite for more.

Lyrical poetry is much the same an every age, as the songs of the nightingales in every spring-time.

The singing of the songs of Zion, though imperfectly, with the inspiration of God, will touch the hearts of the honest more effectively than if sung well without the Spirit of God.

But actually just yesterday we raised the key of one of my songs two steps up, so my voice is obviously responding. It's a muscle, and the more you use it, the more you use it right, the more you should get out of it. So yes, I sing.

In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.

But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.

When I started this song I was still thirty-three The age that Mozart died and sweet Jesus was set free Keats and Shelley too soon finished, Charley Parker would be And I fantasized some tragedy'd be soon curtailing me Well just today I had my birthday I made it thirty-four Mere mortal, not immortal, not star-crossed anymore I've got this problem with my aging I no longer can ignore A tame and toothless tabby can't produce a lion's roar.

My formative years, until I was 12, was all shaped by Jamaican culture, by that economy, by the people in my family, who are agriculturalists, who were plantation workers, who harvested those crops and took them down to the boats run by the United Food Company, to load those ships at night, hence all the songs that I sing that come from that environment.

Day-thoughts feed nightly dreams; And sorrow tracketh wrong, As echo follows song.

A gush of bird song, a patter of dew A cloud and a rainbow's warning; Suddenly sunshine and perfect blue An April day in the morning!

We have songs and we have smiles; that is the beauty of 3HO. We have many, many songs and we have very, very, very many smiles. We have all the tools not to be fools but still sometimes we mess up. But it's all right. If one thing doesn't work another will work-we have the technology and methodology to become and be good, graceful, courageous, pure human beings. We are all on the same path. Nobody is slave to anybody and nobody is subject to anybody. We worship no man but we love every man.

You have to bounce in life with joy. Your strength lies in your smiles and your songs.

I can't sleep with you tonight, baby, my head's all messed up, you've no idea. It's somewhere else and it's full of voices and songs and bad things.

I'm really not into the idea of just faking songs with a synthesizer. That just isn't the music I'm making at all.

Pop songs are not as graceful as they used to be. Performers today haven’t gone through the regimen of learning how to write. And of course, everyone wants to own copyrights. Rap culture is interesting and different and has purpose, but it has a non-romantic view of life and of social feelings. There may be a void in that.

If the voice of the brook was not the first song of celebration, it must have been at least an obbligato for that event.

Now, after these things were done, the Pharaoh and his Queen drove through the hosts of Egypt in their golden chariot, and received the homage of the hosts ere they departed northwards for Thebes. At nightfall they returned again and sat side by side at the marriage feast, and once more Tua swept her harp of ivory and gold, and sang the ancient song of him who dared much for love, and won the prize.

I think after doing Push and Shove and having it not be successful, I lost a lot of confidence. Songwriting, for me, has always been traumatic, and I've always made all these excuses. But I've realized that you have to just accept that it was a gift: "I don't know where it came from, I don't know how I did it, but I did write all those songs, and I gotta do it again."

Magne Furuholmen is a very dear friend of mine. A-ha are a classic pop band and they've got some brilliant songs. I'd say 'The Living Daylights' was one of my favourite Bond tunes: regardless of it being a Bond song, it stands alone as a great piece of music.

Success, for me, is a song that can deliver shivers.

A great song awakens something in your body / mind / spirit or history that you had forgotten about. It ignites some emotional kindling that you didn't even know you had stored. It awakens you to a possibility for the future - be it hope or excitement - that you never knew was possible.

Speaking of people I had to exclude: Hank Williams. which is to say, songs are part of lyric poetry in my book, my thinking. In fact they are the urgent element of poetry in our time, they carry the most emotion for the most people in our culture. everyone LOVES poetry, because we all love (one form or another) of rock and roll (be it folk to emo to rap). It's all rock and roll and all lyric poetry.

But I always held my music up and protected it from compromise. So I just do it for my friends. I've written hundreds of songs, and I'm sure I have a few albums worth of songs.