Paul Simon Quotes
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There was always some kind of strain, but it was workable. The bigger you get, the more of a strain it is, because in your everyday life, you're less used to compromising. As you get bigger, you have your own way. But in a partnership you always have to compromise. … When you get into a partnership, you're not the boss. There's no boss. That makes it hard.
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Anybody can do bad work, but not everybody does good work.
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Somewhere in a burst of glory / Sound becomes a song.
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Improvisation is too good to leave to chance.
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The dialogue between what's going on in the world and what's going on internally seems to be a natural thing - well, it's natural to me, anyway, to have these thoughts.
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This is near enough true bliss.
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People ask how I feel about getting old. I tell them I have the same question. I'm learning as I go.
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A songwriter's supreme challenge is being complex and simple at the same time.
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There is a moment, a chip in time, when leaving home is the lesser crime.
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And the war rages on in a land called somewhere And Generals order their men to kill And to fight for a cause they've long ago forgotten While a little cloud weeps on the side of a hill.
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She said, why don't we both just sleep on it tonight, And I believe, in the morning you'll begin to see the light. And then she kissed me and I realized she probably was right, There must be fifty ways to leave your lover, fifty ways to leave your lover.
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They've got a wall in China, it's a thousand miles long. To keep out the foreigners, they made it strong. And I've got a wall around me, you can't even see.
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I think my hight had the most significant single effect on my existence, aside from my brain. In fact, it's part of an inferior-superior syndrome. I think I have an inferior brain and an inferior stature, if you really want to get brutal about it.
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I don't think [Dylan and the Beatles] influenced me a lot. I think it was inevitable; they were so powerful that you couldn't really escape the influence.
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You sit and you let your fingers go to wherever they are going to go. You wait until you start to hear something, and you start to figure out what it is that you're doing. And then you add another piece next to that piece, and wait to see if some kind of pattern or something interesting starts to grow, and then you cultivate it.
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No one dare disturb the sound of silence...
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Time, time, time, see what's become of me, While I looked around, For my possibilities; I was so hard to please
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Hide it in a hiding place where no one ever goes Put it in your pantry with your cupcakes.
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Sail on silver girl Sail on by Your time has come to shine All your dreams are on their way See how they shine Oh, if you need a friend I'm sailing right behind.
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Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
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The course of a lifetime runs/over and over again.
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Kodachrome, it gives us those nice bright colors Gives us the greens of summers Makes you think all the world's a sunny day, oh yeah! I got a Nikon camera, I love to take a photograph So momma, don't take my Kodachrome away.
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I feel I should try to reveal. When you hit it right, you produce an emotional response in the listener that can be cathartic. When you're wrong, you're soppy, sentimental.
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I sort of recognize it, as opposed to shaping it. Oh, that's a good idea, that's a good line. I wonder where I can use that. And when you get into a rhyme group like 'not,' you got a lot of rhymes, you got a lot of choices. The more you do it, the luckier you get.