Song Quotes
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I wrote a song with Ed Sheeran that was kind of spontaneous.
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The power of a label and radio and a booking agency and all that - you never know until you experience it the first time, but being able to have a song on radio, but then go play a show for people that have heard the song on radio, and having it sung back to you, is - I don't know how to describe it.
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A great song can come from anybody. A great performance can come from anybody. It doesn't matter who you are, and that's truly what I believe.
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If I hear another line dance song I think I'm going to puke.
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Writing has never been an intentional endeavor to me. I know a lot of people have experiences and then sit down and try to sort them out through song, but whenever I sit down to write, it comes out hackneyed or overly saccharine.
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Writing a song is like playing a series of downs in football: Lots of rules, timing is crucial, lots of boundaries, lots of protective gear, lots of stopping and starting.
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Most of my songs are about Jesus. Most of my songs are about the idea that there is salvation, and that there is a Savior. But I won't mention his name in a song just to get a cheap play.
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I love to cook, my husband and I collect wine, and in my head, I am always on Sullivan's Island, walking the beach listening to the song of the ocean.
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I'm interested in feedback and learning what people want. It's a tricky thing for me when I do a set list. You get bored doing the same songs. Let's say we do one ballad in two hours, and it's "Wild Horses." If you say, I'm tired of that, let's try something less well known, and then you're out there stumbling through this song you just relearned at sound check, and you realize people probably want "Wild Horses" instead of this. You do need to do some songs that aren't so well known. The question is how many? I'm open to people posting their requests.
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I feel like no matter what I write about, I try to end up being the stronger person in the situation. Even in heartbreak, I feel like I'm a much stronger person because of that. I don't want to just write a sad song and still feel sad after that. I want to feel stronger and better.
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When you write a song, the goal is not to convey the details of your life. You should write a memoir or something if that's what you're going to do.
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For a song I was boughtNow I lie when I talkWith a careful eye on the cue card.Onto a stage I was pushed,With my sorrow well rehearsed.So give me all your pity and your money, now (all of it).
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We'll be in our 60s performing 'Push It' somewhere. Good old 'Push It.' I don't know what it is about that song.
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I was 14. I went to see a production of 'Jacques Brel is Alive and Well and Living in Paris,' and when they got to that final song, 'If We Only Have Love,' it was like the top of my head had blown off.
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For me, with the Blue Man Group, I got asked. It was for the Royal Variety Show, which was something I always wanted to be a part of. I'm really interested in things people don't necessarily expect. I did a pop song, but I did it in my own style.
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I didn't never have to go to a therapist. I just always put it in a song and you heard me.
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When I was young, I remember the first song I danced to was 'Akhiyan Milaon,' because I am a big fan of Madhuri Dixit.
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Last season when I was on set...for some reason I had The Battle Hymn of the Republic in my head but I didn't know all the words. It was one of those songs you had to learn when you were younger. It wasn't as important for people raised in the 80's and 90's as it was to people raised in the 50's, 60's and 70's so when I started singing "My eyes have seen the glory of the coming of the Lord," Jane Fonda heard me singing it and started singing the rest of it. Suddenly everyone on set everyone was singing. That's just something I can keep in my heart forever.
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Pronouns really don't matter in a song - 'I' or 'he' or 'she' or even subscribing a lyric to an inanimate object.
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It's better to find a composition through an instrument and to play it and record it because you have something. It's a composition, and the song is good. It lives as a song. The worst is when you have a song and nothing is working well when you produce it. It's not like what you expect in your imagination. It's the worst because it requires a lot of work.
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A song is fire. You react to it primally, instantly. You don't have to decide whether you like it, and you don't really have to sit down and think about it much after you're done listening to it. It really does run through you like wind.
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And O there are days in this life, worth life and worth death. And O what a bright old song it is, that O 'tis love, 'tis love, 'tis love that makes the world go round!
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'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.
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The upside potential was so high—you could get a good payday with just one thirty-two-bar hit song—and the barrier to entry so low. Anyone could offer his wares—that is, anyone who could handle the indignity of knocking on door after door and being summarily rejected time and again.
