Song Quotes - Page 179

I'm so honored to be on this recording with Ann & Nancy Wilson. They are iconic and I've truly been one of their biggest fans since I was a kid. And what a perfect song to sing with them, since I adore Vince Gill and have been very proud for his commitment to his own musical vision. When we were recording at Nancy's house, and even though I'm friends with those girls now, I had to keep 'pinching' myself and marvel at how blessed my life is! It was a very PROUD moment for me.

It would be inappropiate, undignified, at 38, to conduct friendships or love affairs with the ardour or intensity of a 22 year old. Falling in love like that? Writing poetry? Crying at pop songs? Dragging people into photobooths? Taking a whole day to make a compilation tape? Asking people if they wanted to share your bed, just for company? If you quoted Bob Dylan or TS Eliot or, god forbid, Brecht at someone these days they would smile politely and step quietly backwards, and who would blame them? Ridiculous, at 38, to expect a song or book or film to change your life.

Music has fed me a lot of ideas... The film BLUE VELVET came out of Bobby Vinton's version of the song BLUE VELVET.

Nine times out of 10 when people do a tribute album or tribute songs for somebody, it's what I call 'white boys playing reggae'. They know they can't, we know they can't, so they sing like they can't and play like they can't. They gently make fun of the idiom or sing in a false accent.

The question of art songs always came up with Gastr del Sol. I think Jim O'Rourke had it right in being clear that there's a tradition of art song - Ives being the touchstone for the two of us - and what we do doesn't belong to it. It wasn't important to advance those kinds of distinctions, but clearly he thought it was fanciful for anyone to speak of what we were doing as being in that tradition.

My songs emerge unbidden and unplanned and completely on a schedule of their own...We have, all of us, over the years, written things that responded to the world as it slapped us in the face. Me and Nash, singing "To the Last Whale" and "Find the Cost of Freedom". Stills coming up with "For What It's Worth". These came right out of the news. People have accused us of taking stances and the truth is we don't.

My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it.

The people who run record companies now wouldn't know a song if it flew up their nose and died. They haven't a clue, and they don't care. You tell them that, and they go, Yeah? So, your point is?

I sense the world might be more dreamlike, metaphorical, and poetic than we currently believe--but just as irrational as sympathetic magic when looked at in a typically scientific way. I wouldn't be surprised if poetry--poetry in the broadest sense, in the sense of a world filled with metaphor, rhyme, and recurring patterns, shapes, and designs--is how the world works. The world isn't logical, it's a song.

However, there's no theme or concept behind Heathen, just a number of songs but somehow there is a thread that runs through it that is quite as strong as any of my thematic type albums.

I think it's rather a waste of time endlessly singing the same songs every night for a year, and it's just not what I want to do.

For me, in songwriting, I have a route I can take. Maybe there's some forks, I can go this way, this way. But I know those roads. I still have the experience behind me.

My songs are like a three-legged dog - you have to get to know them to have any love for them.

My songwriting is like extending a hand to the listener.

When you're sequencing a record, you want the listener to stick with it from beginning to end, and in order to do that, you really have to map out the journey from the first song to the last.

I've always been a fan of melody and emotional melancholy, whether it was Rites of Spring or Tears for Fears or Neil Young. If I hear a song that has a sweet melody, I'm a sucker for it, whether it's Linkin Park or Little Richard.

The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.

It's important to me that people feel connected to the band through the music, you know? I don't want it to be wallpaper. I don't want it to be background music. I want it to be clear: This is the song. These are the words. If you feel the same way as I do, sing it as loud as you can.

If Paul McCartney tells me that so-and-so song is his favorite song, what do I care? What do I care what anybody else says?

Its easy to like the most popular films, but I have a great fondness for A Life Less Ordinary.

Up till now I wrote the songs on my acoustic guitar alone with the Lord. Then I would take the song and share it with my family and then we all would figure out instrumentation together.

Lonnie says it doesn't take long to write a song if you're stricken with a severe case of the Tennysons. He wasn't necessarily talking about a chart-climber.

The songs I was writing still had lyrics or sentiments that didn't match what I was feeling. It was old, negative energy coming out of me still, but it needed to all get out so I could trash those songs and put them in the bin. And then I was able to let the new songs out.

When I perform on stage, I often pretend to be someone other than myself to bring a certain emotion or intent to a song.

I'm able to draw outside my own personal experiences. No one wants to hear the song about what I really did today, which is go get coffee and clean my apartment.