Song Quotes
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Where does a man get inspiration to write a song like that? Well, he gets it from the landlady once a month.
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New York was the inspiration for The Heart of Rock and Roll and Workin for a Livin. There are a lot of songs in the streets of New York.
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A lot of the lyrics I write involve images that just swing the song in a way that feels really good to me and there isn't a literal explanation. They're not riddles for the listener to solve.
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Whether you're writing a book or a song or whatever, you've got to be involved in it. It's got to come from the heart I think...that's what it's all about.
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Even the sad roots songs have a lot of good stories to them, and the murder ballads are good too. I mean, who doesn't like to watch a nice gory murder film on TV?
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A lot of times, the choice of the right song will save a scene. Or there will be a scene that's a little flat and you put in the right song and somehow it just comes alive.
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People are quite shocked when you remind them that Elvis Presley and Frank Sinatra never wrote a song that they recorded in their lives, as far as I know.
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I think that there have been times, especially with writing songs, where you sit in a room with somebody, and they could be a very well-respected songwriter, but for whatever reason, the chemistry is just not right.
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Most of the time when people work with an artist, they don't give them what they need for the future, they give them what their last album sounded like. So it's like, 'Oh, One Republic needs a song, why don't we send them 10 that sound like 'Apologize?'
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'Beneath the Piano' by The Devil Makes Three somehow reminds me of an old Johnny Cash song. The song is a lot of fun and tells a story.
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Sounding like I have agency in a song is important to me. I want to feel empowered by the music.
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I got really hooked on this riff in the middle of this song called 'Minor Miracles' by my friend Eric Johnson from Fruit Bats. I got the tracks for that from him, and that turned into 'Here in Spirit.'
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There's a wide spectrum of possibilities in how to deliver a song.
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I don't sit down to write a song, per se.
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I was always nervous to play my father's John Lennon's songs.
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I grew up listening to an album start to finish, and you don't skip songs. You don't listen to a Paul Simon record and skip a song: you listen to it the same way you would eat a meal... the way the person who prepared that meal for you means for you to experience it. That's how you should do it before you add salt and pepper to it.
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The Biblical words about the genesis of heaven and earth are not words of information but words of appreciation. The story of creation is not a description of how the world came into being but a song about the glory of the world's having come into being.
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All in all it was my intention to hold both the black and the white clientele by voicing the different kinds of songs in their customary tongues.
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You think it's all written, but it's not. There's always another way to twist those three chords around.
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I sometimes suffer from insomnia, and one of the first times it ever happened, I was like, 'I don't know what to do with myself,' so I started writing a song, and by morning, it was finished. It was about how I couldn't sleep... I was 14.
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'Basmati Blues' deals with a great social issue, GMOs, but it's told through love and song and dance.
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A song's lyrics can't be held culprit for the overall change in society.
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It is jazz music that called me to be a musician and I have always sang the songs that moved me the most.
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I apologize for the song 'Everything Is Awesome.'
