Song Quotes
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It was a complete dream to work with David LaChapelle. I collected his books as a teenager, and I fantasised that he would direct the video for 'Spectrum' from the moment the song was written. I still can't believe it actually happened, and I'm completely overjoyed that he felt such a connection with the song.
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We can mention only one point (which experience confirms), namely, that next to the Word of God, music deserves the highest praise. No greater commendation than this can be found — at least not by us. After all, the gift of language combined with the gift of song was only given to man to let him know that he should praise God with both word and music, namely, by proclaiming [the Word of God] through music.
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I just think it's a blessing that I was able to have the gift of words and to be able to put them into music. I was given a great gift all the way around. I didn't ever have to really go out and look for songs, you know.
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It was a slow process. You gotta remember I hadn't recorded a song sober in seven years. So it took me awhile to even feel like I could record a song sober.
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Sing such a song with all of your heart that you'll never have to sing again.
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One of the nice things about a favorite pop song is that it's an unconditional truce on judgment and musical snobbery. You like the song because you just do, and there need not be any further criticism.
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Even with Neptune City, I feel like if you strip down all the arrangements, I feel like each of my songs is always going to be, at its core, either a country song or a blues song.
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To make a song is a gift, and once it's done it keeps evolving and changing and becomes a tool to interact with other people. It's like a conversation.
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We were working 'Good Teacher' up, and it became apparent to me that, as we were playing it, the song had a Hendrix, 'Crosstown Traffic' vibe and feel to it.
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Andy Wiliams' smooth voice and casual style turned the songs he sang into timeless classics and made him one of America's top pop singers. ... The entertainment industry has lost a giant piece of its living history today, but Williams' legacy will forever be enshrined in the annals of music and television.
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I remember Elvis as a young man hanging around the Sun Studios. Even then, I knew this kid had a tremendous talent. He was a dynamic young boy. His phraseology, his way of looking at a song, was as unique as Sinatra's. I was a tremendous fan, and had Elvis lived, there would have been no end to his inventiveness.
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My mother always told me, even if a song has been done a thousand times, you can still bring something of your own to it. I'd like to think I did that.
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I don't know. I mean, it's not all beautifully harmonic, this world we find ourselves in. Clearly. There's shit music, and sometimes the melody goes away completely. There's silence and dissonant chord that cringe your ears. But the synchronicity of a perfectly created chorus? And the fact that you never know when one is coming? And that amazing feeling, the first time you hear a song and now it's going to be with you forever? I have to think that's worth everything.
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That music in itself, whose sounds are song, The poetry of speech.
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If you only get one song, it has to be Bullfrog Blues
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The abstract music is just more interesting because it doesn't really have anything to say, but if it is good, it creates thoughts and feelings, and I enjoy that. For me, once the music creates those thoughts and feelings, I begin to write a song about it.
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When I was maybe three years old, I was obsessed with this song 'Leader of the Band' by Dan Fogelberg. My mom took me to the mall and bought me a 45 of it. We would listen to that song all the time.
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I read the reviews sometimes, but I don't let it really affect the next album because, for me, when I approach an album, it's usually coming to me pretty naturally. It's not like I set out, like, "Okay, I'm going to write an album this month." It's more like I'm just always writing songs and eventually I start to realize that a group of songs sort of fits together, and I go from there in putting together the album and themes and artwork and things like that.
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A lot of drummers, obviously they want to show off and do all these fills and everything, but the main objective is to play for the song.
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When you write a song, there's no point keeping it to yourself.
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When I finished a song that I thought was good, I thought, I don't know where that came from, so I have no idea if I can do that again. I'm talking like, a hundred and fifty songs down the line. I still feel that.
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It don't matter if you put 'The Dance' out, or any old George Strait song. Someone is going to think that it's awful. You gotta be able to just sit back and kind of laugh it off and know you're doing exactly what you wanna do, and if people don't like it, then it's not really my place to tell them they have to like it.
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Progressive rock to us is extended song form. It allows us to develop themes and an album in our genre could be likened to a writer writing a novel rather than a short story.
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I wanted to deliver the emotions a man feels when he's in love. For example, through song "GG BE," I wanted to the express the feelings of being deceived by a woman (the song also contains the woman's counterargument).
