Song Quotes - Page 298

I always figured it was best if I write my songs, take them to my publisher and just lay back. There used to be so many things going on - getting to the artist, getting to the publishers - you know, politics. I just didn't want to get mixed up in all of that.

The song could start with a riff that I base the song around. Or a chord progression or a melody I have, I just write a story about it. Lyric-wise, it's cool to have someone else's input too.

I love seeing young girls and their parents and grandparents at my concerts all loving the music from Grease when I perform those songs (and yes, I do perform a bunch of them!).

John Farrar, my dear friend and songwriter/producer of most of my hits (he wrote "You're The One That I Want" and "Hopelessly Devoted to You," among others), wrote the song ["I Think You Might Like It"] and it captures so much fun and joy! Having that reunion as well, with John and John - made the project even more special!

It's very hard to get good songs because a lot of writers record their own; they keep the best for themselves.

John [Travolta] and I have remained very close friends ever since we did Grease. When I was told that "You're the One That I Want" was named the #1 duet in history and, during a text chat with John letting him know he said "we should record a Christmas song." Of course I said yes.

I am lucky to have the greatest band and when you add a symphony orchestra to the mix it brings all of my songs to a whole new level. I wouldn't say I really change what I do but, having those talented musicians behind me, along with my band, really makes the songs so much bigger and more fun to sing.

English has always been my musical language. When I started writing songs when I was 13 or 14, I started writing in English because it's the language in between. I speak Finnish, I speak French, so I'll write songs in English because that's the music I listen to. I learned so much poetry and the poetic way of expressing myself is in English.

I think I write a lot, but it's always a continuous stream of consciousness, I guess. It's a mechanic. It's a discipline and it's a way to have supplies for the songs to come.

I started singing when I was a teenager. I always wanted to write songs; I just didn't understand how someone could sing without writing their own songs.

I'm very concerned with the healing process of a song and music in general. I think that's why I make music - it heals me and I'm extremely sensitive to people who tell me that this or that song made them feel better or helped them go through a difficult time in their life. I think that music is almost medicine. I don't know if that's my philosophy, but that's my thought process.

I just listen to quite random songs; I don't like really particular artists or bands.

I've spent a lot of my early twenties focusing on other people as opposed to myself. Being madly in love with people and putting them first and not necessarily putting myself under a microscope. It's unsettling but I'm trying to be the kind of person that can be alone, at peace with himself. Making most recent album, I felt braver putting stuff into songs than I do bringing them up in conversation. Which makes no logical sense. Lyrically, there was a lot less hiding behind suns and moons and stars.

I've recorded songs that are prayers in different styles, not just in the traditional gospel style that can help and comfort them. It's the words that matter most.

The song of canaries Never varies, And when they're moulting They're pretty revolting.

While all is new, all is beautiful. That is a well-known song. Yes, and the next day the air changes into another one equally well known.

Downloading songs is not good.

Songs are about whatever you want them to be about. For me it might mean something completely different than what it means to you. So I'd say it's about whatever the listener thinks it's about.

Songwriting is something I really need to work on. I don't have very many songs but I really love it. I would love to be a great song writer some day.

I like songs with a lot of heart and feeling and subtlety.

Songs are kind of alive, I think; once you finish writing them, that doesn't mean that that's it for the song. It can have its own little life, I think.

So, you’re hitting on Clare the Fair.” “I’m not hitting on her. I’m exploring the possibility of seeing her on social terms.” “He’s hitting on her,” Owen said around a mouthful of chips. “You’ve still got that thing you had for her back in high school. Are you still writing bad song lyrics about heartbreak?” “Suck me. And they weren’t that bad.” “Yeah, they were,” Ryder disagreed. “But at least now we don’t have to listen to you playing your keyboard and howling them down the hall.

The Fun Girl video which was directed by Bijoux Altamarino really came out of her vision. I feel she understood the mystery, danger and power of the song and It really came through in the end.

I feel very strongly about letting people know I'm proud of who I am. I want people to know when they hear my songs it's coming from a specific place. The new record is specifically for us trans women: that we can sing about our pain, being ostracized by our lovers, who are ashamed of us in a way. There's no pop music like that for our community. I wanted to contribute in that way.

The word C.R.E.A.M. - which stands for "Cash Rules Everything Around Me" - is from Wu Tang Clan. This song is about a prostitute who falls in love with her client, who winds up being a drug girl in New York. It's an ode to the girl who works in the streets; it gives her a face and a name and a story. I used to go and admire those girls. I was inspired by their bravery and their femininity, and how they were just putting themselves out there. It was intense to see. It's strange, but they kind of inspired me in a way. I felt it was so bold.