Song Quotes - Page 79

If you're working with a producer like Rick Rubin or whatever, you sing each line probably 30 different ways. Each time they're like, "Can you try it this way, can you try it that way?" That's each line in the song, for each song.

Well, everything about singing, I learned from busking. Everything I learned about songwriting, I learned from busking.

I'm just a man, not a hero. just a boy, who wants to sing this song.

[My mother] is much more musical, and by the time I started writing songs - by the time I was about 17 - she started to believe in me, musically.

I am moved more by melodies, song structure, and evocative textures.

I was raised by the song Of the murmuring grove And loving I learned Among Flowers.

How sweet the harmonies of the afternoon! The Blackbird sings along the sunny breeze His ancient song of leaves, and summer boon; Rich breath of hayfields streams thro' whispering trees; And birds of morning trim their bustling wings, And listen fondly--while the Blackbird sings.

In terms of love, you're not in control and I hate that feeling. I seem to write a lot of sad songs because I'm a very tragic person. But there's always an element of humour at the end.

Gimme the tune. Do I like this tune? Does it sound like another tune that I like? The more familiar it is, the better I like it. Hear those three notes there? Those are the three notes I can sing along with. I like those notes very, very much. Give me a beat. Not a fancy one. Give me a GOOD BEAT -- something I can dance to. It has to go boom-bap, boom-boom-BAP. If it doesn't, I will hate it very, very much. Also, I want it right away -- and then, write me some more songs like that -- over and over and over again, because I'm really into music.

The first four and a half years was me in the studio every day, writing songs for other people. I had jobs, too - eleven jobs. I worked at Kinko's, Fatburger, Subway - I was a sandwich artist - and I was a claims processor at Allstate Insurance.

Lil Wayne is the best rapper on Earth. Can't nobody touch him. He's the only guy who can put out 300 songs a year and they all fire.

Without love it is like having a good song without an audience.

The song This Kiss was definitely my breakthrough song. After that, Breathe was my breakthrough album.

When I saw Jimi Hendrix I knew immediately that this guy was the real thing ... and when he played it was like a rough sketch of what he was going to become ... this guy was our generation, and he wasn't in a suit .. he played a Howlin' Wolf song 'Killing Floor', and then we (The Cream) had to carry on the set. It was pretty hard to follow.

I find it interesting when I look back at songs and it's what I've been thinking and feeling for the past two years. There's some sexual stuff in this record and I'm sometimes like, "Is that too far?" There's a confidence in it. It's over-sharing, but in a really therapeutic way.

I used to think that one day I'd be able to resolve the different drives I have in different directions, the tensions between the different people I am. Now I realize that is who I am. I do feel I'm getting closer to the song in my head. I wasn't looking for grace. But luckily grace was looking for me.

I am not a good enough writer to have an agenda or come up with a message and try to put it into a song. It's more like you write what comes to you... You try to reflect the mood of the songs.

Humanity's legacy of stories and storytelling is the most precious we have. All wisdom is in our stories and songs. A story is how we construct our experiences.

I like it when songs develop in some way. Four minutes usually isn't enough time for something to develop musically.

Between the years of ninety-two and a hundred and two, however, we shall be the ribald, useless, drunken, outcast person we have always wished to be. We shall have a long white beard and long white hair; we shall not walk at all, but recline in a wheel chair and bellow for alcoholic beverages; in the winter we shall sit before the fire with our feet in a bucket of hot water, a decanter of corn whiskey near at hand, and write ribald songs against organized society... We look forward to a disreputable, vigorous, unhonoured, and disorderly old age.

O' beautiful for spacious skies But now those skies are threatening They're beating plowshares into swords For this tired old man that we elected king Armchair warriors often fail And we've been poisoned by these fairy tales The lawyers clean up all details Since daddy had to lie But I know a place where we can go And wash away this sin We'll sit and watch the clouds roll by And the tall grass wave in the wind Just lay your head back on the ground And let your hair spill all around me Offer up your best defence But this is the end This is the end of the innocence

I like the idea of it as a trickster motif. You know like you're kind of just messing around with people's memories of songs.

You’re the missing piece I need The song inside of me I need to find you I gotta find you

...and suddenly it occurred to him that the birds, whose twitters and repeated songs sounded so pretty and affirming of nature and the coming day, might actually, in a code known only to other birds, be the birds each saying 'Get away' or 'This branch is mine!' or 'This tree is mine! I'll kill you! Kill, kill!' Or any other manner of dark, brutal, or self-protective stuff—they might be listening to war cries. The thought came from nowhere and made his spirits dip for some reason.

Well, at first the band were simply called Horsepower, but a lot of people thought that was something to do with heroin. That really pissed me off, so I decided to put something in front of it to distract them. “I got '16' from a traditional American folk song, where a man is singing about his dead wife and 16 black horses are pulling her casket up to the cemetery. I liked the image of 16 working horses.