Song Quotes
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'Europe '72' was a super influential record full of fantastic songs and amazing experimental musicianship. I always valued both of those aspects in what Sonic Youth has done through the years - being able to get very abstract and very concrete within the same song.
We're not playing your typical guitar tuning, so there is no normal chords for us to get our footing with. We're pretty much making it up as we go as far as the sounds we're creating. Oftentimes, the song will be inspired by just a certain kind of block of sound that somebody creates.
You don't work in isolation anymore. Anybody can write a song and put it up on the Internet the next day.
Every day you can write a song but some days there is just some magic in the air and something special about the catch; other days you write all day on a song line or idea.
It's a big plethora of music floating around in my head all the time, and I'll sit there and write a song.
'Allegiance' is pretty much a book musical. You know, people talk and then they burst out into song.
In the modern operas that 'Miss Saigon' and 'Les Miz' are, nobody breaks out into song from conventional book dialogue. Everything is sung from beginning to end, including the recitative.
The nice thing about doing a pop opera - in the way that doing, say, 'Miss Saigon' or 'Les Miz' would be - is that, because the convention is set from the beginning that this is an opera and everything is sung, there is never that feeling of 'Why is this person bursting out into song?' because the whole thing is sung.
I love ballads. I'm not into fast songs. I love to put my heart and all of my feelings into a song.
Janis Joplin is definitely one of my biggest influences. She taught me how to feel music, and I don't think there's anyone like her that could bring such pain and emotion to a song.
More than 700 years ago, the Song Dynasty artist Zheng Sixiao created perhaps the most beautiful image of orchids ever painted, 'Ink Orchid.' And still famous today is a thousand-year-old poem from the Tang Dynasty called 'Orchid and Orange.'
I listen to a lot of music. One of my favorite songs is 'Final Song' by M. It's something that I listen to before a lot of competitions.
Any one thing can get in the way of you and your brain being comfortable and being inspired. It's the difference between a really big song and a song that never existed.
Ever since I visited Paris when I was younger, the sappy side of me really wanted to write a song about it someday.
I put out my first song, 'The Other,' in 2015 just on Soundcloud. It was always my most popular song but never really went far in a mainstream way. Then, a couple years after it came out, I watched it go from 8 million to, like, 100 million.
I feel like Drake could literally put out anything - like, the sound of seagulls over a beat - and it could be the Number One song on Spotify.
In a way, the traditional album is no longer as important as it used to be. But at the same time, I don't want to be the kind of artist who just releases one song after another.
It's a great honor when somebody takes your song and does something different with it. That's what music is all about: to constantly change what somebody else has done.
I have a whole iPod full of exceptionally bad music, truly awful stuff including a disproportionate number of one hit wonders from the early '80s and lots of hair bands. I find it utterly impossible to love a song until I know every single word, so listening to live music or new bands is pretty much out.
'Doin' Fine' is a really special song because it's uplifting but really honest at the same time.
It's so interesting how you can take a bad situation and make a great song out of it that somebody else can listen to and have a completely different perspective of the song and have their own meaning. That's what's great about it.
I'm by no means a pianist. I think that's safe to say, but the piano, for me, I would say it's the enabler. It gave me what I needed and gives me what I need in order to write a song. And I think playing or improvising on the piano is where I feel most liberated and sort of less conscious of all my insecurities or inadequacies.
Getting to do 'December Songs' in a cabaret-style format was so interesting because it's like a one-woman song cycle that actually tells a story. It feels like a theatrical experience more than a cabaret because I didn't talk in between. We went from one song to the next, nine songs in a row - bam - I told the story in half an hour.
People don't have to understand a language to understand the emotion and sentiment behind a song.
I think I might have played a song on piano or guitar in a school talent show. I went to an all girls school, so there were always little things going on, but it wasn't really until I was 17 that I did a proper performance. My first big one was Glastonbury, before I was signed.
I love a lot of music that's considered folk music, but I also love a lot of music that's considered punk or considered rap. I don't mind being called a folk singer. But it seems a bit limiting. I want to be able to write whatever kind of song I want.
In my house, we couldn't listen to 'Love to Love You Baby.' It was way too salacious back in the day. I remember my mom would turn the station off when that song came on the radio. But, of course, I played my album to death in my bedroom, with the door closed.
One thing I always really enjoyed about Quincy Jones' production technique was that there were so many layers to every song. Like, one week you'd hear a new trumpet-line, then the next week you'd hear - be hearing a new guitar-line.
Branding your song is the worst thing you can ever do. That's turning your song into a product.
You can be very efficient with lyrics, and you can get the heart fluttering or soaring or make someone cry with a really amazing dance song.
I want to show everybody the diverse me and show people that I can do a tune on an R&B song, I can do a tune on a house song, I can do something on an Afrobeat. I really want to show that.
A lot of the time, when I'm choreographing, I'm not thinking about what movement look best next to the next movement - I'm actually thinking about what song and what sound sounds right next to the next thing. So kind of choreographing as if I'm always making a mix tape, so to speak.
There's too many favorite songs, so I'll just say right now my favorite song of all time is 'Poison' by Bert Jansch.
My cousin used to make fun of me for liking stuff like C+C Music Factory. I didn't have any tapes; I just liked their song on the radio. We liked that because that was what we had access to.
It feels like your subconscious can be way ahead of you, as a songwriter. You can write a song that you think is about one thing and months later you're playing it and thinking, hang on, this is completely informing where I am now.
I've always had a tendency to keep an emergency exit in a song. I can't remember ever writing a song that is completely and thoroughly depressing; there's always been a way out somehow. A sense of hope in song, regardless of the subject matter.
Many of us were raised without a father, and the subject of deadbeat dads hits home in a lot of areas. Most of all, doing a song about being a father to your daughter flies straight in the face of the argument that says hip-hop is misogynistic.
I always tell people that it's so much harder to make a happy song than a sad one.
When you write an album and you're writing about relationships, the stuff that I've been through in my relationships, 99 percent of it is really good, but it's that one percent that always inspires you to write a song.
I've been writing songs since I was a little boy. You know, I think I wrote my first song when I was 11.
But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.
Just the other day I pulled out this old cassette of Ragged Glory and I popped it into my cassette player and I was digging it. They were just a great rock and roll band, one that presents the song ahead of everything else - there's no grand idea or concept behind it.
Best of all is it to preserve everything in a pure, still heart, and let there be for every pulse a thanksgiving, and for every breath a song.
I am always getting ideas for song lyrics and keep a notebook handy. Nowadays, I take a laptop with me everywhere, because I have a stock of handwritten lyrics in it.
I wanna make stuff that sonically sounds really good. I don't wanna make a song about how people think I'm this when I'm really that. I don't wanna make a song about how I grew up broke.
I used to listen to that song, 'I just wanna be successful!' I was like, 'I'ma be where bruh at.' I used to watch him on 'Degrassi.'
We always try to make every song we do sound like a track. It's vocal, but we want it to be really full so no one really can even know if it's a cappella. It's not like it's missing anything, per se.
I always wanted to write a sad song that sounds happy. I think everyone can relate to this emotion.
When a song came on the radio that I wanted to learn, my mother would quickly write down the lyrics for me. Soon after, I would be singing it.
When I was younger, I used to do that a lot: I would hear a part of a song that would really relax me and then put it on repeat. That would send me to sleep. It was quite obvious classical music, people like Penguin Cafe Orchestra, Erik Satie, Claude Debussy, Maurice Ravel.
When I realized I could write lyrics and let someone that I knew listen to them, but not know that the song was about them - say it was a girl. I could write this song about how I feel about this girl, I could play it to them. I just loved it, because all of the words would speak to them. I could see them slowly falling in love with me.
People are consuming more than ever, but I think they want a bit of honesty and depth. Adele, Gotye, Janelle Monae - they're giving you a catchy song, but it's also a challenging song at the same time.
I started teaching myself guitar because I loved singing so much. Then one day kind of out of the blue I found I was writing a song. It just happened organically.
If I try to write a song, I will completely fail to write a song. But if I'm just holding my guitar and I just start humming, then I'll have a song in an hour.
Ever since I was really really little, I was just singing all the time. Like one of my favorite games when I was little would be to just have one of my sisters pick a title, and I would impromptu create that song.
My first performance was in AP Calculus when they forced me up into the front of the classroom and made me sing a song, which was really scary, but it was fun.
I saw the Bangles before I was in a band. I really liked their rhythm. That was right when I was trying to learn how to play guitar. I was really frustrated because I couldn't strum, and then I saw Susannah Hoffs do this cool strum on a song, and it was my goal after that to learn how to do that strum.
I feel like, when you turn on the radio and you hear a great song, you know it's a great song, and you sing along. We all know what a great song sounds like, so we all have that instinct, it's just being able to accept your own instincts when you write that song.
It wasn't until I wrote 'Hideaway' that I found the song I related to as an artist.
I just want to be in the studio 24/7. Even if I'm not working on a song right then, just sit in the studio. That's what I love.
Writing-wise, I started when I was 17. Whatever was bothering me, I could just write about it in a song. I was in the west suburbs of Chicago, then I moved an hour south, and then I went to school up on the South Side - Saint Xavier, though I was at Purdue for a second before I dropped out.
I was in my friend's apartment, and their buddy called us and was like, 'I'm in a car, and you're on the radio.' So we listened to the song. That was wild. I'm like, 'Is this real? How is this happening?'
I have all these revelations as I'm writing. Each song is like a chapter of my diary.
'Rock Bottom Riser' by Smog - I was just in Europe, and my jet lag never really went away. I wasn't sleeping very much. Then one night, my girlfriend saw a Bill Callahan show in L.A. and took a video of that song and sent it to me. I was just listening to it over and over - it was comforting.
I wanted to write a song called '#1234' that would act as a homage to The Ramones.
'Reign' - and this might sound cheesy, but it's a dream I had. I dreamt everything that happened in that song, woke up, and wrote the song.
The thing about the national anthem is that it's actually a pretty difficult song to sing for anybody.
The inspiration to write a song comes to me when something has happened to me more than once. If it's happened to me more than once, it's probably happened to other people.
I don't like the idea that I'm a one-trick pony, even if I am! No matter what else I do, I have to make sure that 'Elephant' isn't Tame Impala's biggest song anywhere.
From the very, very beginning, we made the decision that 'Tarzan' wasn't going to sing. My co-director, Chris Buck, and I said to each other that we couldn't imagine a half-naked man in the jungle simply bursting into song.
In 7th grade, I believe, I wrote my first rap song. It was about everything I was seeing, everything that was going on around me.
The voice of Vin Scully has become the song of summer for generations of Los Angeles baseball fans and aficionados of excellence in sports broadcasting.
The fundamental human truth underpinning 'Ox Mountain Death Song' is that men so very often turn into their fathers. The way that everything gets passed down.
'Paper Planes' by M.I.A. is very catchy. I like that, but I listen to everything from rap to Lenny Kravitz to Coldplay, depending on my mood. And my favorite song of all time is 'Always and Forever' by Heatwave.
On 'Utopia,' I mix sick beats with ethereal elements while trying to keep the focus very much on the songwriting. If you strip any of these songs down to just the vocal and a piano, there's a real song in there.
You kind of have to become a song so to speak and we wanted to make sure that Tom did them with the best abilities he had and captured all that what the song is all about.
I write when I have to; I write when the song is done and I deal with the idea and I just go with it and I'll become what that song is all about until I have finished it. And when you do that, it makes the song more visual, it makes it more personal.
When we play 'Angel of Death', it's actually a 2 and half minutes sing 'til our party starts. That song is pretty much been played traditionally in the end.
I find it really irritating when a band changes the melody of a song you know.
We used to do 'Venus' live for a long time but never got 'round to recording it because people would always say it's too old-fashioned a song.
I love the fact that I can go out there on stage with a guitar and sing a song that means something to somebody.
Writing a song is much like being an author. Yes, we all have tools to write (everyone has a brain I hope!), but that doesn't all of a sudden make us best selling authors.
I have come up with very creative ideas that really didn't work with the song I was currently composing.
Sometimes I will click on a random sequence of notes- not to actually use it in a song, but to see if I can find maybe a simple pattern that I can build off of.
My favorite songwriting trick is writing something like 'XO.' In my brain, I thought, 'This is probably going to be a love song. How can I change that and find ways to twist that.' As a songwriter, it's your job for the song to take twists and turns that people don't expect.
I started crying, because there's nothing like hearing that the artist who originally did the song likes your version.
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