Songs Quotes
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All the songs on the first album were like skeletons of how we really played them. It was just a combination of not having any studio experience and having to do everything so fast. I also think that studios are, by nature, limiting. You cannot get the sound of five big amplifiers on a little piece of tape.
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The strongest and sweetest songs yet remain to be sung.
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All my songs minor, that’s the key to your heart.
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On the first few albums the songs would grow into strange shapes.
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You can be whoever you want to be when you are writing songs.
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The songs worked as a different kind of rhetoric, one that could reach the fence-sitters.
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I get my inspiration for my songs and the lyrics from experiences in my life, but I'm also very inspired by the Beatles and Cyndi Lauper, as I really like their music.
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'Urban Renewal' was sweet because I've been - unfairly, I would say - plonked in the middle of the road because of a handful of songs. It came at a good time for me, because you do take a bit of a browbeating and, as you get older, you become better at accepting it and realizing why it happens.
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I've always written songs to use music as a form of therapy or as a way to look at my obstacles or my memories from a different perspective. It's always helped me realize the grass isn't always greener and how I need to live more in the moment. My songwriting is a documentation of whatever's happening in my life at that point in time.
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I don't write happy songs. Who does? I don't know anybody who writes happy songs, really.
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Sometimes the best songs almost write themselves.
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Taken together, our songs are like a mural of our lives.
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I loved the culture of the youth ministry. It was exciting and there were lots of young people, and they were just excited about God. We had this thought that we wanted to write songs that our friends and the people in our youth ministry would love to sing and would love to use to draw near to God, and that’s basically how it all got started.
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I am a big fan of Dos Passos' stylistic ability, his poetic approach to prose, but the ideas presented in the songs are quite different from those which he exemplified.
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Though I know something about British birds I should have been lost and confused among American birds, of which unhappily I know little or nothing. Colonel Roosevelt not only knew more about American birds than I did about British birds, but he knew about British birds also. What he had lacked was an opportunity of hearing their songs, and you cannot get a knowledge of the songs of birds in any other way than by listening to them. We began our walk, and when a song was heard I told him the name of the bird. I noticed that as soon as I mentioned the name it was unnecessary to tell him more. He knew what the bird was like. It was not necessary for him to see it. He knew the kind of bird it was, its habits and appearance. He just wanted to complete his knowledge by hearing the song. He had, too, a very trained ear for bird songs, which cannot be acquired without having spent much time in listening to them. How he had found time in that busy life to acquire this knowledge so thoroughly it is almost impossible to imagine, but there the knowledge and training undoubtedly were. He had one of the most perfectly trained ears for bird songs that I have ever known, so that if three or four birds were singing together he would pick out their songs, distinguish each, and ask to be told each separate name; and when farther on we heard any bird for a second time, he would remember the song from the first telling and be able to name the bird himself.
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Music is a gestalt. Songs are a life force and they have specific vocabulary to them. You hear a few notes, and they take you into a world of association.
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You don't always get lucky enough to have songs that can breathe and shift meaning. But every once in a while you open up a window and something passes through. It's really nice for me when I discover those songs in my catalogue. It's one of the reasons I try not to get too specific about what my songs mean.
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Steve produced Girls Grow Up Faster Than Boys and one more. Then he and I wrote a few songs together and became good friends. He was a talented producer.
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I love it. I'd do it again any time, and I'm sure we'll do it for other records. It was awesome. We met cool people and got some really good songs out of it.
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I respect the Stones but their songs are a pile of crap. As for U2, they don’t say a lot or seem like normal persons.
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I find the songs that have the most human components in production are the ones that will stand the test of time.
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I have written quite a lot of songs about dealing with my feelings surrounding the disease. I have written songs about the fear and anxiety I have around my disease, and the fear of it coming back. Some of my songs might seem like relationship songs, but are more about my relationship with that struggle.
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It seems to be really trendy to get excited about a random-ass radio song. Which, I like radio songs, don't get me wrong. But I'm just confused at which ones seem to be heralded as some sort of genius-like concoction. It doesn't totally make sense to me.
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The Black Parade only has two songs left. Then you'll have to deal with the likes of My Chemical Romance. Personally...I think their language is atrocious and they don't know how to dress.
