Song Quotes
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There are some bands for whom that works very well and it's no disrespect to them because I'm sure there's something honest and natural about it, but for us I feel like it would be dishonest and kinda disrespectful to that artwork to do that. To be like: "Okay, we're going to go back and only play these songs, even though we have an hour to an hour and a half set and we gotta play more songs, but we'll skimp you on your extra half hour." That's just silly to me.
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Sean Taylor is a wonderfully talented modern troubadour whose sincere, thoughtful songs pull you in. I've had the pleasure of sharing the stage with him. He swings. Check him out!
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Water, wind and birdsong were the echoes in this quiet place of a great chiming symphony that was surging around the world. Knee-deep in grasses and moon daisies, Stella stood and listened, swaying a little as the flowers and trees were swaying, her spirit voice singing loudly, though her lips were still, and every pulse in her body beating its hammer strokes in time to the song.
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Hawkwind are one of those bands that people introduce you to because you don't see them on the covers of magazines. I'd heard 'Silver Machine' but Russell Senior, who was in Pulp, got me into them. They had a song called 'Master Of The Universe' and we nicked the title in 1985 for one of our songs.
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'Sally' is just a song that I wrote talking to my alter ego. When I write, I don't really consciously say, 'This is what I've been going through in my life, and I'm gonna put this into words.' It's just a song that I kinda went in and did. Then, listening back to it, I realized, 'I'm talking to myself.'
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So you can be about your business, and then on it comes again. And this time you're ready, and you've got a wine glass or something. And you put the glass up to the wall, and you can hear through the wall a little bit more of the song - maybe just the middle bit this time. You know, you managed to get in a little bit of the end. And so it goes on until - because you just got to - you really just want to sing it.
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I don't know what happens at radio as far as what is that X factor that makes a song click and have people get connected to it when it's in another language.
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There are a lot of composers who were fantastic, but I challenge them to write a record that you could play five times a day for two months on the radio, songs that people will want to dance to on a Saturday night.
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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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Lyrics are what I tend to tear hair out over and they're where I tend to feel weak musically, if I'm being very honest. It is not something I feel like I know anything about; I would not consider myself a writer. I just want to sing, I just want to sing a melody, I just want to feel a melody, and be part of the song, and everything else is not so important.
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My head translates emotions into song. Songwriting is cathartic for me.
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Taking the higher ground can be difficult, so it really helps when you can write those feelings into a song.
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If you forget the words to your own song, you can always claim artistic license. Forget the words to the national anthem, and you're screwed.
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This idea has been in my heart for a long time. One always dreams of recording a song when they finish writing it.
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And of course there must be something wrong In wanting to silence any song.
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A good folk song tells you something you already know, in a form you're already familiar with, on terms that were set down long before you were born - when the country was primarily windblown dust, open wagon trains, and dysfunctional towns like Deadwood.
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After my first No. 1 song back in 2006, I worried I may never have another one.
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When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song.
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I look for something universal in songs rather than something personal. I look for something that will give us a platform for live improvisation.
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The triumphs of the warrior are bounded by the narrow theatre of his own age; but those of a Scott or a Shakspeare will be renewed with greater and greater lustre in ages yet unborn, when the victorious chieftain shall be forgotten, or shall live only in the song of the minstrel and the page of the chronicler.
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I always come from a female perspective and a strong music base, trying to keep a positive slant on things. It's important for you to do what you love and not let anyone bring you down, and I keep that message throughout. I like writing songs all females can relate to - songs about when you're a chick and you get your heart broken and you go shopping.
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It does make sense to put on some songs that are relatively short, because radio usually only plays songs that are less than 4 or 5 minutes.
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What we try to do with all of our albums, is live out our musical fantasies in the most honest fashion we know how...We want to include songs that lyrically cover subjects ranging from the heaviest things we've ever done to light-hearted experiences that can best be presented through sentimental bluesy ballads that are usually good for a chuckle or two.
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To me there's a definite way of doing a song. If I didn't think that, I wouldn't have done it that way in the first place.
