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Philip Larkin didn't write for several years before his life ended. And when he was asked why he didn't write, he said the muse deserted him. And when I read that, it really had a profound effect upon me, sort of scared me. So that's why I think I have no right to assume that some thought is going to come... But I think, in my imagination, if it is it, there will probably be something else I'm interested in.
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I don't really like to write at a desk. I like to write when driving in a car. ... Once you're working on it, you're working on it all the time, and sometimes stuff'll come in the middle of the night, in a dream or something. Your mind is working on it all the time.
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I've got a reason to believe we all be received in Graceland, Graceland, Memphis Tennessee.
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I'm always going forward toward something, and that something is usually an album, because I like to record. I probably like to record more than I like to write.
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And she said 'Losing love is like a window in your heart, Everybody sees you're blown apart, Everybody feels the wind blow.'
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All lies and jests, still a man hears what he wants to hear and disregards the rest.
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Artie travels all the time. The rehearsals were just miserable. Artie and I fought all the time. He didn't want to do the show with my band; he just wanted me on acoustic guitar.
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One of the things that upset me was some of the criticism leveled at Simon and Garfunkel. I always took exception to it, but actually I agree with a lot of it.
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...everything looks worse in black and white.
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How much can you do with two voices? You can sing thirds or you can sing fifths or you can do a background harmony.
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I think Bridge Over Troubled Water was a very good song. Artie sang it beautifully. The Boxer was a really nice record. But I don't think I've written any great songs.
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When I began making my own albums, the songs became funkier. They were more about the streets.
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I didn't get how big it was until I went home, turned on the television and saw it on all the news, and later that night on the front pages of all the newspapers. Then I got it.
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You know, life is what you make of it- so beautiful or so what.
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Anthony Heilbut has been a guide and a mentor to me. I know of no one who has the love and depth of knowledge of this extraordinary author.
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Who am I to blow against the wind?
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We work our jobs, collect our pay, believe were gliding down the highway, when in fact we're slip sliding away.
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And I must be what I must be and face tomorrow.
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I like working with sound; sound and rhythm. I like the abstract more than "What does that mean?" Nobody ever says to you, "Why did you use a harmonium?" Or "What is that ringing sound that occurs here?" The questions are always "What does that song mean?" or "What were you trying to say here?"
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There must be 50 ways to leave your lover.
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We were always able to sing and blend well together; that's our gift. But aside from that, we're really two different guys.
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I question what emotion Manilow touches. People are entertained by him. But are they emotionally moved? I don't believe anything that Barry Manilow sings.
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Why am I so soft in the middle when the rest of my life is so hard?
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Music is forever; music should grow and mature with you, following you right on up until you die.