Song Quotes
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You look back and see pictures of yourself, or hear an old song, and you know where that came from or why you were working on that - but you don't want to do that again. You don't necessarily hate it, but you're a very different person now, so, in that way you do.
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I would agree with that. But when I write lyrics, personally I don't care if the person who is listening to it understands what I'm saying or not; and I write them like that specifically. You know, I have my views; I don't feel the need to have people have the same views as me. So if they find the meaning in the songs and it's the same meaning as the one I intended then fine and dandy and if they don't, they don't.
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I'm not a song and dance man, so you're not going to see me on 'Glee' anytime soon. If you want that show to continue, keep me far away from it.
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Time can bring you down, time can bend your knees.
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I tend to work on a song, generate ideas, and re-arrange it like five times, and I'm glad I take the time to do that, because I think my original songs come out better.
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I watch videos on YouTube of bands that I've heard of that I want to check out. And sometimes I don't even finish the video. And that's really sad, because maybe I'd like that song. I think that we don't give stuff a chance to really sink in.
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I hear a good song and I start thinking, 'Oh shoot. You know there's a story that can be told to this,' and whatnot.
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It's a mystical quality of music, that music isn't really concrete, and it's communicating abstractions about imaginary worlds. At least, my music's like that. It's not real. It's unreal, it's all fabrication. To write a song about Obama would suddenly break the spell.
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By the time I wrote those first three songs for his new CD ... I wanted to push the poetics as hard as I could push them, and not decide the songs were finished until I committed them to whatever the recording format was. I went through drafts right up until I recorded every single one of them.
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And religious music and the sort of symbolism of it and everything. But I had this idea. Actually, I sort of dreamt it. I woke up - just before waking up one morning, I sort of dreamt this song or the idea of it and the first little bit of it. And I jumped out of bed and I thought, well, you're still asleep. You're going to forget this in a minute - you know, like you do when you've had a dream.
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Beyond telling a story, they are sensations that I sought to capture in the form of a song.
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If my tongue were trained to measures, I would sing a stirring song.
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I called the guys from Promise of the Real, whom I've been playing with, and they were all on the road. Right after I hung up the phone, I wrote another song and started writing another, and I'm going, "Hey, I can't wait. I should be doing this now!" My experience tells me that when it's there, it's there, and you can't make it wait. So I got Jimmy Keltner and Paul Bushnell, two good guys, and went in and did this record "Peace Trail".
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I recorded the song 'Believers' because I feel the song has a strong and much needed message. We all need encouragement and something to believe in.
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Growing up in Memphis and listening to all kinds of music and dreaming... So that was one of the first times I wrote a complete song and set it to music and the whole bit. From then on, I was busy with it.
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Reality is that even if you come out with a really good song, all will go to waste without good promotion.
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This is sad. I just think it’s a little ridiculous we are still only looking at the surface of one another. Red hair? Blue hair? Pink? Blonde? Short? Long? Whatever. We might as well shave our heads. Hair has nothing to do with the reason we playing music. It’s a style. Something that will never last as long as the songs we play and the words we sing. Listen up ladies in bands, I’m so proud to be one of you and I don’t care if we all look exactly alike or if we are all carbon copies of each other. We have things to say and it’s up to us to get people to not just look but to LISTEN!
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People have habits about what they think songs should be like. There's the folky thing of: "Poor me, I'm a sensitive person in a cruel world." Or the pop thing of: "Hey, look at me, I'm sexy."
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So writing a song is much harder than doing a classical piece for me, because in a classical piece, I can just let the mood dictate what's going to happen.
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Crossfire's done very well. I knew it was a great song, but I didn't know it would be so big.
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Dinosaurs is a song that I'm really glad I wrote.
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I would play all the parts of the song, show them the way it went together. Then I'd basically break down an arrangement - I wouldn't plan endings or beginnings - so they knew everything that was going on. I had the lyrics on a prompter so that I could remember everything I'd written, and I was able to just get into the groove and play with them. I think "Peace Trail" is one of the exceptions, where it's a later take. It just happened really quickly.
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I do think sometimes there's danger in guest appearance mania. I've seen too many examples that sound cool on paper, like 'Oh, get that guy to sing the hook on that guy's song,' and then that's all it is. It's a cool idea that sounds good on paper.
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Suddenly I realized that I wanted everything to be as it was when I was younger. When you're young enough, you don't know that you live in a cheap lousy apartment. A cracked chair is nothing other than a chair. A dandelion growing out of a crack in the sidewalk outside your front door is a garden. You could believe that a song your parent was singing in the evening was the most tragic opera in the world. It never occurs to you when you are very young to need something other than what your parents have to offer you.
