Song Quotes - Page 392

The idea of letting a recording be a moment in time appealed to me. With digital recording, it's easy to create a perfect text of whatever song you have.

There's a certain power in vague language, but I started to get more into the idea of really trying to have a discrete thought in the lyrics and to have songs that were about stuff - to try to make things more coherent.

It will affect me in ways I can't even begin to get my mind around. This day is a dark crater. There is no room for songs. The songs are wrong. Every song is wrong. And I don't know what to do without music.

Our lives change. Our feelings for each other change. Our bearings change. The song changes. The air changes. The temperature of the shower changes. Accept this. We must accept this.

Deep breaths. I am taking deep breaths. Composure. Which, for me, means composing... Maybe this is my way of creating the illusion of control over something I have no control over. Like, if it's just a story I'm telling or a song I'm singing, then I'll be okay because I'm the guy who's providing the words.

Long live protest songs, in whatever form they take.

Faith of Cranes is a love song to the beauty and worth of the lives we are able to lead in the world just as it is, troubled though it be... The writing is honest, intensely lived, and overflowing with heart: broken, mended, and whole.

I admire pop songs that are perfect at three minutes.

I don't write poetry for the page because my inclination in that area is satisfied by songwriting. "Ornamental Hermit" was a comparatively effortless song to write, which is rare for me.

Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.

Well, Peter Rowan and I had plans to form a band when he left Bill Monroe. I always thought it was going to be a bluegrass band, but I guess when Peter left Bill Monroe he had had enough of bluegrass. He had written some songs and of course the Beatles were a big influence back then. So, we decided to something different and it ended up being that.

With the Republicans controlling both houses of Congress, this is the Eisenhower-era revisited. It's ostrich time, where people are looking for comfort rather than challenge in their art. It's a lot easier to listen to Barry Manilow murder what are actually good songs from the '50s than to consider what [left-leaning songwriter] Steve Earle has to say.

Back in the day, I came up with the expression "Same Animal - Different Cages" to describe our songs. I suppose over the years I've just broadened the meaning of that.

Every improv must be song specific. It has to grow organically out of the particular elements involved or it's just glib self-expression. I hate when I feel like I'm the lead guitarist in a rock band. We all gotta be going somewhere strong together, you know?

Еach song is like starting over. Because somehow, no song's formula works for another. And that's the beauty of it all. Each song's destiny is embedded in its DNA. And our job is to reveal it.

Songs start with my bringing in the basic riffs for what you might call a verse and a chorus, an A and a B part...whatever. And sometimes a C and even a D. That's kind of the easy, or at least easier part. The hard part is finding that special, perfect way to order things - how many times to do A before B and back and how the second verse differs from the first. That's all we got.

I like to give clues - titles - that can give a simple, evocative hook into what picture or feeling welled up in my mind when I came up with the song.

We [Notekillers] are in no way super-earnest about what we do and if you see us live, you see we are cracking up during songs and saying pretty ridiculous things in-between. We're having fun.

I like to go for a certain over-the-top opulence when naming the drone pieces whereas the song titles are all about concision, I guess. I mean, if I were truly a purist, I'd call things, "Long Piece #27" or "Newest Fast Song", but I enjoy titling and it is helpful at rehearsals or when making set-lists.

I can't legislate a song into being, it just will not happen for me.

I love music. I love making songs. I feel like I've been given a path where I can contribute, where I can protest if somebody does something really obviously wrong or inhuman right in front of me, where I can make a difference. Where I can most especially elevate, make you happy, elevate the condition, elevate the thing.

My songs emerge from my life, or wherever they do, unbidden and unplanned and completely on a schedule of their own.

I'd like to find a creative way to write a book that incorporates every Depeche Mode song ever.

The only one I really like is a song called Saccharine.

With Whitesnake it would have been inappropriate for me to have played Deep Purple songs, although I did at the beginning because I didn't have enough Whitesnake songs.