Song Quotes
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There's no real high like finishing a new song, playing it a thousand times in your car, and freaking out with your co-writers.
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Read about some squirrelly guy who claims that he just don't believe in fighting, and I wonder how long the rest of us can count on being free.
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I feel like if you sit down and have an assistant engineer and a producer in a top-notch studio and everyone sets up all the mikes perfect, all of a sudden it's really hard to live that melancholy song. It's hard to really live it in the moment.
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I don't find writing for the theater that different from writing a rock song.
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I am a person that believes in different emotions with music. Music can bring about different vibes on the field, off the field, urban life, going to church, leaving church. Everything the world may bring, there's a song for it to put you in the right frame of mind.
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Stevie didn't use the technology to drive the song. He used it to enhance. I use the tools to further my work, I don't use my work to further the tools.
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Pop music thrives on repetition. You know a song's a hit when you've heard it so often that you'll be happy never to hear it again.
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I feel like if I've written a song about something I haven't experienced, I wouldn't be able to perform it properly, and people would be able to see that. People can see right through that.
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I like the old days when, if I wrote a song and I recorded it, it didn't mean somebody else couldn't record it.
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Ancient one sleeping, waiting to rise When earth's power bleeds sacred red The mark strikes true; Queen Tsi Sgili will devise He shall be washed from his entombing bed Through the hand of the dead he is free Terrible beauty, monstrous sight Ruled again they shall be Women shall kneel to his dark might Kalona's song sounds sweet As we slaughter with cold heat
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Libertarianism is 'cultish,' say the sophisticates. Of course, there's nothing cultish at all about allegiance to the state, with its flags, its songs, its mass murders, its little children saluting and paying homage to pictures of their dear leaders on the wall, etc.
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Between the Dinosaur Jr. albums and his recent solo albums, 'Several Shades of Why' and 'Heavy Blanket,' J Mascis is emerging as one of the last men from all that '80s indie madness, still writing songs that you want to listen to over and over.
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I've never put out a song that I wasn't completely proud of and that I didn't love. In that sense, I've never felt like I sold out in any way.
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Singers, like Frank Sinatra and myself, we interpret the songs that we like. Not unlike a Shakespearean actor that goes back to the greatest words ever written, we go back to the greatest songs and bring about my interpretation of them.
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I really feel every word to every song a lot more than I have in the past.
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Writing for other artists helped me figure out that magic you have to capture to make everyone connect with a song.
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It was very romantic. It's all in the song, The Ballad of John and Yoko. If you want to know how it happened, it's in there. Gibraltar was like a little sunny dream. I couldn't find a white suit - I had sort of off-white corduroy trousers and a white jacket. Yoko had all white on.
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In Norway, everyone knows everyone, and everyone is very supportive of each other. If there is anyone new, or a new song is coming out, everyone will probably know about it.
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I'm constantly working on something new, whether it's a Garbage song, or for someone I'm producing or a song for film or TV whatever it is. I guess I'm sort of living in the moment and moving towards what I'm doing next. I think most artists are like that.
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When I play with my band around the U.S.A., the most requested song is 'Peace Frog.'
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People were saying that Southern folk song was dead, that the land that had produced American jazz, the blues, the spirituals, the mountain ballads and the work songs had gone sterile.
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Defining something being a Fleetwood Mac song is calling it a Fleetwood Mac song, you know? Nothing becomes Fleetwood Mac until that's what you call it.
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There's an interesting story around that ["Heaven Without a Gun"], because the girl I was dating at the time got into a bike accident and couldn't make it into the studio, and the gentleman Dave Hamlin who worked on this record along with Ohad sort of took it, rearranged it. Dave went and sonically changed it and changed the keys so that Andy could sing it better. All these pieces came together that suddenly displayed that the song was meant for Andy [Kim] to sing. And he always said, "I'll never understand it, but I'll sing it with all my heart."
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When we were making the record, I just decided, at the last second. I thought, "This song ["Ordinary World"] makes a lot of sense, being on the album [Revolution Radio]."
