Song Quotes
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That music in itself, whose sounds are song, The poetry of speech.
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Beautiful and rich is an old friendship, Grateful to the touch as ancient ivory, Smooth as aged wine, or sheen of tapestry Where light has lingered, intimate and long. Full of tears and warm is an old friendship That asks no longer deeds of gallantry, Or any deed at all- save that the friend shall be Alive and breathing somewhere, like a song.
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The Woodshed Orchestra trade in exuberance and might, a glistening thunderslap on the hind of musical atrophy. These songs leap from disc to lap, a many-legged beast trundling with joy and vision.
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Life's too short to sit through songs you don't love.
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What happens is, especially when I was writing for my band, Creedence, and it's the way I write now, I go into "guitar lick" mode. When I do, it sort of leads into a real song. I'd say to myself, your songwriting is coming up with a guitar lick, and the rest is easy!
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I remember the audition process for Xena: Warrior Princess; I was driving there and I was listening to The Cranberries' "Dreams," so I was thinking of that audition again recently with the sudden passing of Dolores O'Riordan, Cranberries singer. And I remember that song, I was like, "Okay, I can do anything" as I was driving onto the lot at Universal.
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No dreams, no visions, no delicious fantasies, no castles in the air, with which, as the old song so truly says, hearts are broken, heads are turned.
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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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I didn't really want to write just lyrics, but I wanted to meet Leonard Bernstein. Music was always the first reason I was writing songs.
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I'm on the phone with this guy, and he says to me, 'People compare you to Bruce Springsteen. I don't think you've written a song as good as 'Dancing in the Dark' or 'I'm on Fire.'' And all I could think was, 'Me neither!'
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Our shows have always been sort of an all-generations thing, people from 6 to 60. The other night, we played a show and we had a woman who was probably 70 to 75 years old, and she was there alone and she was singing every song. On the other end of the spectrum, there was a 7-year-old on his dad's shoulders and the dad is singing along.
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Duke Ellington had a song, "What Am I Here For?" - this is what being pro-life is.
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I learned the songs and played the gigs, and then they called me about a month later. They told me they were like super stoked on me and asked me to join their band.
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I do craft songs, that this is designed. It's almost like the song was written to produce this desired effect. And it probably really works for somebody. It's maybe somebody's favorite tune, and it's really hard to come down on that, even if I feel a little embarrassed for it. Because some songs are written like a commercial, and that can be a little strange.
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The problem with working with a record label is they maybe a song I want to make a video for that they will refuse to make a video for because they don't see that song as a single. And I found that very frustrating. I realised what I was doing was making these short films for the blind. They were films and all you had to do was put some headphones on and close your eyes and listen to my voice and you'd be able to visualise the images that I'm putting into your brain. And so I started calling what I was doing 'films for the blind'.
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Dinosaurs is a song that I'm really glad I wrote.
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I really try to be aware of the purpose of each song. There are songs on my record that I want people to have sex to, and songs people can listen to when they're pissed off.
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I wrote many songs about UFOs.
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There's a certain feeling of giving, a certain feeling of generosity in love songs. When you sing a song of love, you're actually giving something to yourself, too. You're singing and casting these affirmations of love out into the universe.
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I hate it when you buy a record for the single and find out that is the only good song on the album.
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I want a song that raises the hair on the back of my neck when I sing it live and I want to feel it every time.
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I think it was Tommy who told me, 'When your song is called 'XYZ' or whatever, every line has got to make sense against your title.' He showed me little methods of proving to yourself whether the line belongs, and ways of finding out whether you were able to get more out of a line if you tried.
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Every time I finish a song... most of the time it's in my own head, like this sounds too much like a Townes Van Zandt song, or whoever. I realize there are so many melodies and chord progressions in pop and rock music that are so similar that you can kind of trace it back to other things. Most of the time it's just in your head.
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His hand took hold of hers, and as she said something low in his ear he turned toward her with a rush of emotion. I think that voice held him most, with its fluctuating, feverish warmth, because it couldn’t be over-dreamed —that voice was a deathless song.
