Song Quotes - Page 295

Nobody gets married to a clever song, let alone falls in love to one.

The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.

Coming from a little suburban town, I wasn't a hip city kid. I was quite the opposite, really. Songs like 'Saturday's Kids' rang a bell for kids all over the country. That song was about the kids I grew up with.

When recording, whatever you first think about, you come out with something totally different at the end of it. Whatever plans you have you throw away, because it's always going to end up sounding pretty different from what you initially thought of. I probably only had about five or six songs when I started, and it just sort of flowed from that.

In all honesty, I don't know what one song can change.

When I lived in a little flat in Pimlico in 1981, I'd write in the hallway. As you walked in, there was a tiny little recess type thing, hardly a hallway, really, and I'd sit there writing songs with my guitar.

I could say that 'Exile On Main Street' was my favourite or whatever, but I'm more about the songs and the artists and the sound that they bring.

I'm not big on rap, to be honest. I just don't get it. It's angry people shouting. I like a song, melodies, people singing.

Music's totally eclectic now. I saw a DJ the other day, he was on Virgin radio over here, and he said he played "Going Underground", the Jam song, on his breakfast show. Then he got a text from some young kid asking if was a new band. I think a lot of people these days, younger people as well, are aware of all sorts of music, really. If you're into the Libertines you probably also have to be aware of the Beatles, or the Kinks. I think there's a better, possibly greater appreciation for all music, of all eras, I think.

If my tongue were trained to measures, I would sing a stirring song.

I like to do cover songs if I really love them, I have to love the song first.

We live in more pragmatic times than when we originally recorded those songs. But many of the dreamers of the '60s have been elected to governmental office or taken on a leadership role in their communities. They are now in the position to make a difference.

I see a correlation between short stories and songs, because of their length and for what they're meant to evoke. Combine certain words with melodies and it all becomes very moving.

I don't really know why an idea comes to me. But all of a sudden, an idea comes and from experience I can intuit what something means when an interesting line pops up. Or I can intuit what an interesting choice might be. And I can try a couple of different choices, and see which one feels right, and then continue the song to see where it goes.

I really don't know what exactly all the songs mean. Sometimes other people have meanings and when I hear them I think, 'That's really a better meaning than I thought, and perfectly valid, given the words that exist.' So part of what makes a song really good is that people take in different meanings, and they apply them, and they might be more powerful than the ones I'm thinking.

Most of the time, the songs have jokes in them, little sarcastic things, or purposely kitsch or something. So that's going along with a story, like I do in life, just talking to myself and making fun of stuff and laughing at stuff that's serious. And sometimes it's a good idea to put the laughing into the songs. Sometimes it's not. Sometimes it's all right just to be serious. But most of the songs have some kind of joke in them.

Cecilia was made in a living room on a Sony. It was like a little piece of magical fluff, bur it works. El Condor Pasa a Los Incas record that I love. Bridge is a very strong melodic song.

I like working with sound; sound and rhythm. I like the abstract more than "What does that mean?" Nobody ever says to you, "Why did you use a harmonium?" Or "What is that ringing sound that occurs here?" The questions are always "What does that song mean?" or "What were you trying to say here?"

Far above the golden clouds, the darkness vibrates. The earth is blue. And everything about it is a love song. Everything about it.

Just slip out the back, Jack, make a new plan, Stan, you don't need to be coy, Roy, just get yourself free. Hop on the bus, Gus, you don't need to discuss much, just drop off the key, Lee, and get yourself free.

I'm about to start working with a singer I met on my last trip: she'll get international exposure, and I'll have a song out in that market sung in Cantonese.

When I collaborated with Nelly Furtado, the idea for the song structure came from myself, but the lyrics and the ideas behind the songs came from her.

Your average pop song or film is a very sophisticated item, with very sophisticated ways of listening and viewing that we have not really consciously developed over the years - because we were having such a good time

If my life were a song, what would it be? 'A Never Ending Road of Musical Good Times'.

I'm not into, Hey, what's your sign? or any of that. But I don't know how I got here, and I don't know how I write songs. I don't know why I breathe.