Song Quotes
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Somewhere out in the darkness, a phoenix was singing in a way Harry had never heard before: a stricken lament of terrible beauty. And Harry felt, as he had felt about phoenix song before, that the music was inside him, not without: It was his own grief turned magically to song.
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'Will You Still Love Me Tomorrow,' if you go through the lyrics, is such a haunting melody, and the words are, for a pop song, pretty deep and dark.
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You're always starting with a nugget of truth, whether it's a song or an improv scene.
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A lot of philosophy is bull***t, but a lot of it is what we write songs about too. And it's organizing your thoughts, organizing your intellect.
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What's the point of a song if you can't be honest?
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I'm open to any kind of situation in a song as long as it touches my heart.
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It's rewarding to know that a song is doing more than just helping someone to have a nice day: it's actually leaving a deposit in their lives.
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I like my name. My mom named me after a song by the 1970s group Bread. So, it's meaningful, and I like the song. It's a love song - kind of - but it's kind of depressing and dark.
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It was a very bizarre experience for me, to get the songs together, go in there, and try to deliver them as I would perhaps in a live setting. But I realized that I couldn't take on that coffeehouse style that I came from and go in there and burn it up.
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You kind of have to celebrate the moment that you get to create something that you love that falls into the parameters of a 3-minute-and-20-second song, to try to be creative inside of those parameters.
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Once I've got something that I feel is strong, if I get long enough to think about it, it'll turn into something. I'll start thinking about the drums - what the drums are doing, what the bass is doing. Then, if I can remember it by the time I get to a recording device, it'll turn into a song.
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I love to sing old Motown songs to myself, or some Patti Smith Edith Piaf or Billie Holiday. That gets me in the mood for singing.
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If you listen to one of my albums, you can tell I do a lot of different things. In the case of 'Vincent', I thought of his picture 'Starry Night.' It was a beautiful road-map for a song. I used a lot of imagery from that painting.
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There's nothing like the eureka moment of knocking off a song that didn't exist before - I won't compare it to sex, but it lasts longer.
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I try to find little things that you can do to move the song along and things that serve the song.
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I'm a very message-oriented artist, and each song has a totally different meaning.
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I really like it when movies take a song and use it to counterpoint a scene.
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I think I deliberately sold out a couple of times. I picked the songs that I thought would do well in the marketplace, even though I didn't really love the song.
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It's easy for me to be vulnerable and craft songs when I'm being a hermit in my woods loft, secluded. When I get attention for it, whether it's on stage or in life - I have sort of a love-hate relationship with all of it. That makes me feel really stark naked.
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I've always loved that, on all the Dylan and Springsteen and Marley and Neil Young reissues that they've done: It's so cool to hear alternate versions and how the song started in their mind.
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But I like to listen to demos. I like to hear the finished product. It's like listening to a song - I mean, a story. If you're going to sit here and tell me a story, I just like to listen. I don't want to make them up.
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Enema of the State song is kind of like a tattoo, like a moment in time, but it aged well. It's not like one that you're looking at like, "Aw, God, I gotta get that s**t removed." It's something we're proud of.
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'Take Her Up to Monto' is a very satirical song. I don't really like people calling it a folk song because it kind of isn't. It's a bit cheeky calling it 'Take Her Up to Monto,' but the whole idea was to be very irreverent.
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Branding your song is the worst thing you can ever do. That's turning your song into a product.
