Song Quotes - Page 204

All those ridiculous songs about love - I finally understood.

I didn't really start writing music or lyrics or turning them into songs until I went to San Francisco.

I'm always aiming for some magic in films if I can find a mystical quality either in a song or in a moment or a character's intention.

I would just be vibing with whatever I liked the most. And then there were a couple songs that I started on my own. I would have a melody or an idea and I would take it to the studio to go through it.

I'm obsessed with the science of music. I'm obsessed with the way you can string notes together and they can do something, and you play the same notes in another way and they do nothing. How the essence within songs - within words, within lyrics - finds its place.

Our shows are packed with laughter and light-hearted songs to lift the listener from their everyday life. We encourage the audience to participate in any way.

I basically had the idea when I was 18 that I wanted to write my own songs. I knew it was going to be a long, tough road, and I was like, if I just begin now, by the time I'm 40, I'll be good at it.

All those songs reflect all the people that live within me.

We did an a cappella version, which I have always wanted to do, of the "Coventry Carol." It's beautiful, and we did it in three part harmony with no accompaniment. We have two a cappella songs that, in my opinion, are just gorgeous.

When you sing R&B songs in front of an audience, you look out and there's 85% women. I think R&B music is sort of designed for a man singing to a woman. I don't sing it like the sexy thing, but sort of pseudo-sexy. We rally the women together because it's about being independent and things like that.

I think playing night after night is when you get a lot better as a musician because you need to add different levels of intensity and experiment a little bit with the existing songs just to keep everything interesting.

I write songs on a course of time that's comfortable for me. I would probably never write a song from start to finish in the course of a day, hell probably not even a week. My mind is always going to change and my emotional state will also change on a daily basis.

Gentle lady, do not sing Sad songs about the end of love; Lay aside sadness and sing How love that passes is enough. Sing about the long deep sleep Of lovers that are dead, and how In the grave all love shall sleep: Love is aweary now.

How still the morning of the hallow'd day! Mute is the voice of rural labour, hush'd The ploughboy's whistle, and the milkmaid's song.

The ten days we passed there [at Ta Chêng Tzu], we were the song of the drunkard and the jest of the abjects; but the peace of God passes all understanding, and that kept my heart and mind. We put a calm front on, put out our stand daily, and carried ourselves as if nothing had happened. The great thought of my mind in these days, - and the great object of my life, - is to be like Christ. As He was in the world, so we are to be. He was in the world to manifest God; we are in the world to manifest Christ.

What is so important is that you play for the artist and for the record and for the song ... everything else falls into place ... my solo has to be a complement to the singer and the song.

I see myself as a traditionalist. I like traditional things. I like things of substance and value that have been proven. Conceptually, as the songs started to come together, I followed that lead, which is the language I work in.

Most people think in order to validate yourself as an artist, you have to write your own songs. I commend the guys that do. I've done it. But I also think that you can pick great songs outside that you didn't write that can help your career.

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.

Water. Its sunny track in the plain; its splashing in the garden canal, the sound it makes when in its course it meets the mane ofthe grass; the diluted reflection of the sky together with the fleeting sight of the reeds; the Negresses fill their dripping gourds and their red clay containers; the song of the washerwomen; the gorged fields the tall crops ripening.

you shall tie the marriage knot with the ropemaker's daughter and the cawing of the crows will be your wedding song.

I feel that people spend as much time skipping songs as they do listening to them in their library.

As a writer, I never paid much attention to the length of titles. I've just wanted them to communicate the emotional overtones of the content of a record or song that they are describing

The biggest influence? I've had several at different times - but the biggest for me was Bob Dylan, who was a guy that came along when I was twelve or thirteen and just changed all the rules about what it meant to write songs.

Self-discovery in songwriting, bringing something forth that's instructive to yourself - some of the best songs that you will ever write are the ones where you didn't have to think about any of that stuff, but nonetheless that's what's happening in the song.