Nick Drake Quotes
Quotes to Explore
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Even in the beginning, when we knew there was a legal argument about how much our song sounds like his song, as one songwriter to another, I wasn't sure that Cat Stevens would take that as bad.
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I close my eyes when I sing so I can feel the song better.
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As a songwriter I hate this whole, 'If it's a sad song, it has to sound like a sad song thing.' And that goes all the way back to my days with the Format. I'm an insane narcissist, so if I have to get something off my chest, I'll get something off my chest.
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From the stage, I can reach a large audience, and you learn from being on stage how much a song reaches, what extent of the crowd a song can reach. I write in a way that can reach most of the audience, but I also wanted to have truly intimate moments as well, many intimate moments, more so than the big moments.
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I fantasise about what the future could be in terms of aesthetic and psychology. It's the most difficult thing to do because you have to start from the past - your favourite architect, your favourite song - you take it all with you.
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'Float On' was a fine song, but I was still writing the lyrics on the last day we were working on it and deciding if it was something we wanted to put on the record.
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Sometimes videos make a bad song very tight.
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You want to reach people, but you also want to reach them in the most authentic way. You now have a mass market and an audience that's listening, but they're in love with a song that means absolutely nothing to you.
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What you hear about the band is always going to be more disturbing than any particular song.
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When I was driving home after registration, I heard this song on the radio, a guy singing about not ever going to class in college and always hanging out and singing for his friends. I laughed and said, I can relate, because it was so much like me. I realized right then I would pull out of school and pursue a music career.
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If it weren't for the rocks in its bed, the stream would have no song.
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If I had my choice, I'd pick a song that tells a story every time. There is a great deal of pleasure in doing the vocal on a number that you can put feeling into.
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As a songwriter you have an umbilical cord to the song and it's hard to expand on your understanding of the lyrics. Whereas when you cover a song you can create your own reason why you're attached to it.
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Each song has its own life.
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'Whiplash' was always the song I hated the most because it's a song designed to screw with drummers.
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I've been writing since I came to Nashville when I was 17. I've been blessed to have written with so many of the biggest names around. They took me under their wing and taught me the ways of writing. They saw something special in me, which feels great. Every song on my record is going to be original, and that's just a really cool feeling.
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From another side: is Achilles possible with powder and lead? Or the Iliad with the printing press, not to mention the printing machine? Do not the song and saga of the muse necessarily come to an end with the printer's bar, hence do not the necessary conditions of epic poetry vanish?
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But now if I can wrap myself up in that song, and when that song gets to be a part of me, and affects me emotionally, then the emotions that I go through, chances are I’ll be able to communicate to you. Make the people out there become a part of the life of this song that you’re singing about. That’s soul when you can do that.1
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I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or 'Sherry,' I should be able to do that. Or a Dylan song.
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Your life, your soul, your world. They cannot kill it. Look at me, I’ve died but I opened my eyes again.
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Good, the more communicated, more abundant grows.
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One must observe the proper rites.
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If songs were lines in a conversation, the situation would be fine . . .
