Song Quotes - Page 344

I have this rule: It's like, if you write an amazing, cool song that you mean and then you go put your leather pants on and sing it in front of people; that's OK. But if you put your leather pants on and stand in front of the mirror and go, "Ok, I've got to write a song to fit these pants," then you're in trouble.

All great song, from the first day when human lips contrived syllables, has been sincere song.

I'm a perfectionist and I can kill songs because I analyze them too much. For me it takes awhile because I like to do it and then step back and listen and observe.

Songs like "Spirit Carries On" really gets the audience moved and on the same page. It's challenging and all so much fun to play.

First and foremost, with everybody we wanted to see if they can pull off the songs, play them correctly, and that they it felt right musically. That's something Mike [Mangini] did, it felt like the band. He really gets the style and delivers in a powerful metal way.

Jordan [Ruddes], he learned that way, and that's what he knows how to do. That's how he kind of approaches all music, whether it's to learn a cover song that we're going to play, or to review Dream Theater music - he always uses charts. That's what he knows. I really rely a lot more on memory.

We used to rehearse and that's where the roots of Dream Theater formed. Y'know, we used to play cover songs and jam to [Iron] Maiden and stuff but we were writing songs and it was this metal, loud style and we'd constantly get knocks on our door, because the rehearsal rooms were right next door to each other, and these jazz guys would be like, "Can you guys turn it down a little?"

Songs come alive every night and can be a new experience for someone. You might have someone in the audience who has never seen us before and hearing it for the first time. We are aware of that.

We're not the kind of band who writes an order abundance of songs and picks from them, we usually write for the album.

You might pick up some influences from another type of music that you wouldn't normally think of, but, you know, maybe as a guitar player, it will come out in your improvisational style, maybe as a song writer it might come out in your note choices, or in your melodic choices, and it just helps to making your music that much more original and unique.

We wanted a musical number that would capture the exhilaration of being out on a boat as they were and sailing with the stars and all that. So that's the origin of We Know the Way. From very early on we said, for an audience that doesn't know this, what we need a song that can really have the kind of sweep and the, you know, pull you in. So that was early on, we conceived of like that should be a musical moment [in Maona].

These are thy glorious works Parent of Good, Almighty, thine this universal Frame, Thus wondrous fair; thy self how wondrous then! Unspeakable, who sitst above these Heavens To us invisible or dimly seen In these thy lowest works, yet these declare Thy goodness beyond thought, and Power Divine: Speak ye who best can tell, ye Sons of light, Angels, for ye behold him, and with songs And choral symphonies, Day without Night, Circle his Throne rejoicing, ye in Heav'n, On Earth join all ye Creatures to extoll Him first, him last, him midst, and without end.

In discourse more sweet; For eloquence the soul, song charms the sense. Others apart sat on a hill retir'd, In thoughts more elevate, and reason'd high Of providence, foreknowledge, will, and fate, Fix'd fate, free-will, foreknowledge absolute; And found no end, in wand'ring mazes lost.

The love-lorn nightingale nightly to thee her sad song mourneth well.

But see! theVirgin blessed Hath laid her Babe to rest. Time is our tedious song should here have ending.

In so many musicals today, the story is moved forward by a song. I don't think we're gonna try to do that.

Rock'n'roll starts between the legs and goes through the heart, then to the head. As long as it does those three things, it's a great rock song.

I like how you sing that song. You sound like you're really old.

I don't write songs in order to stick it to my exes. I don't release underground dis tracks.

Every song I put on a record could be a single and I just pack my bags for it... and the minute it takes off, I'm not gonna be home for a while.

Yeah, Under The Table And Dreaming shaped the way that I think about writing songs.

I always make it a point to pick songs on which players really shine.

I write songs about real things... The subject dictates the mood and it goes from there, really.

On the long dusty ribbon of the long city street, The pageant of life is passing me on multitudinous feet, With a word here of the hills, and a song there of the sea And-the great movement changes-the pageant passes me.

There's many, many ways to write a song. But generally, sitting down at a table and writing is not one of them.