Song Quotes
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When a song gets its legs and begins to come to me, this is the euphoric hook that keeps me wanting to continue.
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I sang a song at my sister's wedding. My mother forced me into that, too. But that one felt all right.
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There is genuine healing in a beautifully crafted musical theatre song, like Stephen Sondheim's 'Losing My Mind,' or a pop music gem like Joni Mitchell's 'Help Me.'
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In the media, a reviewer has his personal vision but it's passed along to a million readers or whatever. He might think that this particular song sounds like Jo Blow. Or like a Bo Diddley record that he heard six years ago. But the artist who made the record may never have even heard the Bo Diddley song. We all respond differently.
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Starry Starry night Paint your palette blue and gray Look out on a summer's day With eyes that know the darkness in my soul Shadows on the hills Sketch the trees and the daffodils Catch the breeze and the winter chills In colors on the snowy linen land.
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Even on my most angry song, I'm also still saying, 'Thank you for helping me to learn.' I've always wanted to give voice to that complexity in our experience.
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If I found a cure for a huge disease, while I was hobbling up onstage to accept the Nobel Prize they'd be playing the theme song from 'Three's Company'.
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The jam stuff doesn't appeal to me in general. My newfound love for the Dead came from Robert Hunter and Jerry Garcia's songwriting, not the elaborate guitar solos. I'm a song person. Once it starts to break out of that structure and become loopy, it's uninteresting to me.
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Much of my experience with language was formed in the church, which has an oral tradition. There are lots of repetitions in prayers and song refrains. There's a sense of incantation, that if you call not once and not twice but for a third time, the spirit appears.
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I remember my first standup act when I was seventeen; I did a really lame song about being flat chested. I was doing it in New York, and I remember Kevin Brennan, the guy I lost my virginity to, was like "That song doesn't make sense, you have tits."
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The song I came to sing remains unsung to this day. I have spent my days in stringing and in unstringing my instrument. The time has not come true, the words have not been rightly set; only there is the agony of wishing in my heart . . .
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I saw 'Rolling Stone' magazine once, and they were talking about the top 50 songs, and there wasn't one Sly song; how does that happen? But, Sly isn't the type to brown nose for props. He's always known what he had, what he was capable of; I'm just proud that he took the time and effort to put it to music.
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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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'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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I try to explain that to my kids - the experience of going to a record store, flipping through racks and finding that album cover that intrigues you - but my kids don't want to know about it. They download the one song on the album they like, and pay their 99 cents.
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I like to do cover songs if I really love them, I have to love the song first.
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I'll never forget when me and Jason Matthews wrote the line, 'Don't be a tape player hater,' in 'Country Man,' I don't think I ever laughed harder. We didn't know where we were gonna put that in a song, but we knew we had to make it into a song. I just remember laughing and being so proud of such a goofy little line.
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To write a blues song is to regiment riots and pluck gems from graves.
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A lament in one ear, maybe, but always a song in the other
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I think different musical collaborators bring out different qualities in my songs and I like that.
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I'm inspired to write songs by all kinds of things. Good sex with a good man, that might inspire a song. Bad sex - that might inspire a different kind of song.
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The band set up in January and just started rehearsing. If there was a song, we'd just rehearse it as a band, and it would get arranged as a band, and it got changed around a lot.
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There's so much talk about the Drug Generation and songs about drugs. That's stupid. They aren't songs about drugs; they're about life.
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If I was to play any song for anybody asking, 'What is metal about?' I'd just play 'Master of Puppets.' The progressions and the bridge are brilliant.
