Song Quotes - Page 254

For all of my life, I've had this one song in my head, and I'm still trying to write it. I'm still trying to get that song out. I'm getting closer, every record I get a little bit closer to saying it the way I want to say it.

That's the great thing about being in a band: it's a gang for people who are too wimpy to fight. You can create a gang and have an identity and fight for something and stand up for something just by making pop songs. They're my gang members and gang members are for life, and if you try and leave, we execute you. That's the way it goes. A simple bang, back of the head, into the river, and we keep moving on.

Vulnerability can be empowering as a songwriter and storyteller.

If you can surrender your protection devices, in order to track the potentially raw and perhaps elusive emotions that are the song's DNA, then that is creative vulnerability, which is ultimately hugely empowering.

Standin' on a corner in Winslow, Arizona, and I'm quite sure I'm in the wrong song.

There are things that I refuse to deal with except through my music... because I don't trust humanity that much, and I don't know if I trust me that much. But I trust the songs.

A guitarist or a drummer can get a cold and still play; I get a cold and sound like a wet mitten trying to sing you a love song. Charming.

My husband doesn't know what my songs are about - even when they're about him. He's very British in that way. He doesn't ask, and he doesn't want to be told.

Operation Peter Pan spanned from 1960-62 whereby over 14,000 children were sent away from their families in Cuba, some never to reunite again. Pan Am flights took the children to Miami FL, 'Never-Never Land', and the children became known as the 'Peter Pans.' I wrote this song for my daughter, and it is sung for all the daughters and mothers, fathers and brothers who felt this pain of separation all because of governments and their politics.

If I was writing songs just for me I'd only play them in my living room, alone.

I was fascinated to think about a place where men could be the mothers and I thought of my own song-writing and I decided to have a relationship with their daughters.

For a song cycle to work, you have to feel these things when you hear them and you either have an emotional reaction to it or you don't. The plotline is something that gets woven together in the backstory.

For many years, I shut down that place inside myself that needed to rage, cry, ask questions and basically just express herself. I made a conscious choice when I put (the song) 'Me and a Gun' on the record not to stay a victim anymore.

I like involved projects. I'm driven by the idea of characters and the song-cycle form is similar to a musical.

I think all the boys that write the screaming stuff would write the best love songs... because they have the most to hide. The guys that are in the most pain are usually the ones with the biggest hearts.

I'm naturally a personable person. I feel like figuring out ways to have my personality shine through outside of just a three minute song helped. I have layers, there are many different sides to Torae.

Papa Roach is actually a band that's great at playing arenas. Not every band is suited for that environment. But besides the huge energy you guys bring, the songs are very grand and anthemic. "Kick in the Teeth" being an example as a song that's made for huge crowd sing-alongs, not tiny little club shows.

I mean that's something we're very conscious of when writing. Tempos are very important. Like "Oh we can't play the song too fast because people aren't going to feel it." There's a pulse to a song. You can't play it too slow. We're always trying to find the perfect tempo.

What I really search for is something that I really love hearing, something that's my own private game: If I find a song I really like, I try to do a definitive version.

When she awoke there was a melody in her head she could not identify or recall ever hearing before. 'Perhaps I made it up,' she thought. Then it came to her - the name of the song and all its lyrics just as she had heard it many times before. She sat on the edge of the bed thinking, 'There aren't any more new songs and I have sung all the ones there are. I have sung them all. I have sung all the songs there are.

And they beat. The women for having known them and no more, no more; the children for having been them but never again. They killed a boss so often and so completely they had to bring him back to life to pulp him one more time. Tasting hot mealcake among pine trees, they beat it away. Singing love songs to Mr. Death, they smashed his head. More than the rest, they killed the flirt whom folks called Life for leading them on.

Once the song is done and recorded, I like to go back and then cut the drums, because then I know exactly what the song needs, and what it doesn't need.

Right now I feel so inspired, it's hard to believe. I've written about 20 songs in the last two days. I'd gone about four months without writing a thing.

When Billie Holiday sings a song, I hear the song, but I always hear her and her truth.

There's only one reason why you write new songs: You get sick of the old songs. It's not that I didn't do anything during the time when I wrote no songs. I was creative, but in another way. I had ideas for songs and collected the ideas.