Song Quotes
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My audience is a huge part of my success, so I see us as a team. They send me tons of song requests every day. Some of the songs I've never heard before, but I listen to them and then pick the ones that I love.
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No one worries about genre when they're dancing. They're not asking themselves, 'Is this song a dubstep song?'
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But I knew - in the old days, if a song was a good song, I don't care if it was 'Yellow Submarine' or, you know, or 'The Times They Are a-Changin' or 'Don't Be Cruel', you knew it, you know? You heard that song, and you were talking about it, and you knew it.
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It's got to be hard to be a band that's trading on your 40-year-old hits, where there's a certain thing that's expected of you. But that's why I admire Bob Dylan's live performances - he's steadfast about mixing up the songs, not just sticking to his greatest hits, and reinterpreting them to the extent that you really can't recognize them until halfway through. It's like, I DARE you to sing along.
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If a new artist wants to put out some sort of off-the-wall, crazy deep ballad about the sun or whatever, it might be hard to get traction. It's so much easier for someone established to put out a really heartfelt, deep song and get it played in radio.
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Art is the last thing I'm worried about when I'm writing a song. As far as I'm concerned, art is just short for 'Arthur.'
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Before playing Headfirst Slide Into Cooperstown On A Bad Bet. I couldn't really come up with a short way to sum up this song, but I was watching the movie 'Adaptation' the other day and this sort of sums it up in my head. You are not who loves you. You are who you love. Always remember that.
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I just love pretty things, whether it is art, a song or a pair of shoes.
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I think the more that I can find myself getting out of the way - like you said yourself - trying to get out of thinking too much, and sometimes something truly special can happen. That's the beautiful mystery of song writing - that you really don't know where these songs come from exactly, and you don't know how you came up with them - and god bless it that you should have the gift of channeling that.
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Sometimes you do know where the ideas are coming from and sometimes you don't. You might get a song coming through that you just don't know about.
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I don't like karaoke. But maybe that's why I'm so perfect for 'Lip Sync Battle,' because I get to still hear the song I love and watch the performances that I love without having to hear someone sing.
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I don't have to play the song all the way to the very end - I use it while it's good and while it's cool and while it's exciting, and then I get out.
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Usually, the song will tell me who it belongs to. It seems clear to me who would do a good job with it, who it suits.
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I try to write from a really honest place when I write pop music and carry the song into a more deep and more symbolic visual
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“To love a person is to learn the song that is in their heart and to sing it to them when they have forgotten.”
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The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.
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I'm always writing songs, and I've got a bunch that I want to record.
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By your own soul, learn to live. If some men force you, take no heed. If some men hate you, have no care. Sing your song, dream your dreams Hope your hopes, and pray your prayers.
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If you listen to a language for 15 minutes, you know the rhythm and song.
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Justin Hayward was a teenager when he was drafted into the Moody Blues in 1966. He brought with him one song he had written for his girlfriend. This was called 'Nights in White Satin,' which subsequently made a fortune for a lot of people.
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I've definitely read interviews with people where they've explained exactly what they wrote something about and I've been like: "Oh no, I was thinking that was a really beautiful love song or a really sad thing."
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Robert Burns enriched Scottish song with his genius and is mainly responsible for the rich treasure house of song that we enjoy today. He collected folk songs, retained the melodic line, kept what words were usable and rewrote the rest. He didn't claim ownership.
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You create something in your bedroom or your house, and it's just a fun thing that you're doing. Then, all of a sudden, you hear that song that you started in your house, and it's on the radio. And people are now acknowledging it. It's just trippy. What a life.
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I don't work so hard at trying to get every song to be three-dimensional and mean so much. I just want to breathe, right now, with the music.
