Song Quotes
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I tend to write songs critiquing myself. The best way for me to deal with stuff is to write a song about it... That's not to say all my songs are like that.
If it feels good, feels different, and falls in the middle of both of our wildly different tastes, then we know it's a Sofi Tukker song.
Sophie does more of the writing, lyrical stuff; I do more of the sitting at the computer and the board stuff. But it blurs. If we're both really feeling it, then we'll keep going with the song.
It was amazing to remake and rewrite a song like 'Sweet Like Chocolate.' It feels like a good way to come back.
I'm a musician, I always was a musician, and now I've got a song on the radio, so I'm definitely a musician.
When I'm in the mode of feeling positive about love, I don't really feel the need to mark it down in song. In fact, I know what that song would sound like, and I would not subject anybody to that.
I wanted to write a song about war and that classic 'We want you' recruitment style from the point of view of the recruiter.
I think pop music is in such an exciting place right now, and I do kind of credit that to Lorde with 'Royals.' I think that song changed everything in the pop scene. All of the sudden, alternative pop music became pop music.
I don't really care what type of beat it is. As long as it appeals to my ear, I'm gonna do a song to it.
It's cool when your husband starts to sing some old Merle Haggard song and I can pop in with a harmony and it doesn't sound too bad.
You can punch a wall or write a song. Just as painful either way, but you have something to show for it at the end of the day with a song.
One of my songs was on a jazz station for awhile. It was a song that I wrote for a jazz sax player friend of mine, and I sang and played the guitar on it.
If I write a song, I'm gonna end up singing it. If I sing it, I gotta dance to it.
We didn't want to worry about the formula that has been implanted into our brains - this verse/pre-chorus/chorus format. When we were writing 'The Papercut Chronicles,' we had no idea about any of that. We didn't know how to count bars or how to write what's considered a well-formatted pop song.
I feel like a lot of people in the hip hop world don't take me seriously as a rapper, and I feel that first-and-foremost I came up as a rapper before I started singing. All a lot of people know from me is 'Cupid's Chokehold,' and they don't scratch the surface and see beyond that dude who sings the song about his girlfriend.
But there's actually a lot of punk bands out there that go out of the norm, use odd time signatures, or a lot of different tempo changes in a song.
I remember a song I did called 'If the Good Die Young' - I wanted to have a lead guitar solo on there, and the label flipped out! It was too rock and roll. They made us go back and put fiddle on the solo.
People get passionate about a song. It's been my experience if you put out radio candy, something commercial, it doesn't sell records.
I got to choreograph a halftime dance with the cheerleading squad, which was all-female, at my high school. And I was the only boy, at the time. We did this whole routine to 'Maria Maria' by Santana, and 'Thong Song' by Sisqo - it was a mix.
The very first song I ever wrote was a song called 'Crazy' when I was 11 or 12 with my best girlfriends - we had a girl band. It was about loving a guy who everyone else thought you were crazy for being into.
If you say, 'I listen to pop,' you picture this kind of perfect, colorful, polished song. I want to have that, but when you open it, you see this gritty dark - kind of like dancing your tears away. Disguise the sadness in a pop beat.
People will come up to me at shows and tell me that a song touched them in a completely different way than I wrote it. That's fun. Fans translating it in their own way.
'Unbreakable Smile' was based off one of the songs I wrote for the album - it was actually the first song I wrote for the album without realizing it yet. I think I wanted to name the album that because it seemed like that was just the theme of that chapter in my life and just the theme of all the songs put together.
Dee Dee Ramone was the one who would go to Rockaway Beach, and he wrote that great song about it. He was the beach boy; he loved getting a tan and stuff, and he would ride the bus down Woodhaven Boulevard to Rockaway.
I wish I had a nickel for every song that I've left in the bathroom, written down on a matchbox, or just totally forgotten about.
When a song gets its legs and begins to come to me, this is the euphoric hook that keeps me wanting to continue.
Just because my song was being played on the radio didn't mean I had a load of money. You don't get royalties overnight.
Everything starts and ends with the song, and working with writers and really learning their process and craft was an invaluable experience.
As I've gone along, I felt like I was discovering an aspect of my voice that I didn't know was there: an ability to interpret a song in a way that makes it more accessible.
When Billie Holiday sings a song, I hear the song, but I always hear her and her truth.
Sometimes the magnetism of a song is impossible to ignore, and it demands that it be sung in a certain way.
I think all songs should have weather in them. Names of towns and streets, and they should have a couple of sailors. I think those are just song prerequisites.
The best compliment I ever had is, one day I was in Nashville, some disc jockey said, Hey, that sounds like a Tom T. Hall song. Up until then there hadn't been any such thing.
My best album is called In Search Of A Song. That was my best shot right there. My finest hour, as they say. I could listen to the whole thing all the way through. There's nothing really crammed into it.
It used to be that you'd have a song recorded by a major country artist and if it was a hit, you could buy a car. Now you can buy a dealership.
All Boston songs are fairly difficult to translate to the stage. None of them are especially easy to play or sing. A lot of them, of course, have very involved arrangements with lots of different sounds and sections that are difficult to play and sing. The prospect of doing any Boston song live is always an endeavor in itself.
When I write a song and come up with an arrangement and a vocal part, it's always a challenge trying to find a singer who can interpret it sort of the way that I hear it, and it's a very difficult thing to do. I mean, singing is like playing an instrument - everybody does it a little bit different - singing maybe even more so.
I'm never too ambitious when I go into the studio. I always know that I'm just going into the studio to work on or try to develop an idea that I have for a song.
I heard 'More Than A Feeling' for the first time when somebody came running into my office in the engineering department and said, 'Your song's on the radio in the drafting department!'
I can tell you that I can always recognize a Boston song, even if it's in a noisy place. I can hear that it's Boston even before I know what song it is. If a Boston song comes on in a club or somewhere, I notice that it's Boston, and the second thing I notice is what song it is.
The problem is that once I start on a song and get a rough idea of where I might go with an arrangement, I try dozens, sometimes hundreds, of different things on a song. The bass, the backing guitars, the lead guitars, the keyboards. It's a long process. It's like 100 steps forward and 99 steps back.
I take chances. I don't limit myself. I don't think anybody who listens to Boston would have predicted hearing a female rapper on the beginning of the song 'Sail Away.' But that's what fit.
I don't like the idea of having to reproduce a recorded song live that I sing. I have enough to do on stage. I'm really busy up there, and I'm really busy with everything I have to do for every show. Add having to worry about my voice and singing lead on a song or two, that's not something I necessarily want to do.
I will say that I know Nirvana did a show and played a few chords from 'More Than a Feeling' before they did 'Teen Spirit,' and it wasn't very good. But in all seriousness, 'Teen Spirit' was a great song. If subconsciously or somehow I had any influence on that, I'll take that as a compliment.
Fun is when you're writing a song and you're trying a rough shot at a demo and... it works. That's when it's fun. After that, it's work.
We've been able to have our cake and eat it, too. Every song, every T-shirt, is absolutely a pure expression of what we want to do. And it connects.
The first song I ever wrote was when I was 12, and it had, like, four lines in it. You progress and get better.
Music is shared. It's a shared feeling; that's what music is all about. When you listen to a song with someone else, it becomes more than just a song. It defines relationships.
For hundreds of years people have talked about artists having inspiration, but often, some persons would say, write us a symphony or write us a song, on commission. The artists would come up with a masterpiece without waiting to have their muse inspire them.
I was asked by a group to write a song on the theme of brotherhood. This was before women's liberation, when brotherhood meant men and women both, so I wrote the song. Since I had always been very fond of the Passion Chorale, I wrote words to that great piece.
I wrote the Brotherhood song for no money out of my deep feelings about humanity, and because I was flattered that whatever talents I had, had been recognized.
Just this morning, out of a large memory for songs, and having been obsessed by them since childhood, suddenly, at the age of 84, I thought of a song I hadn't thought of in over 50 years. It came into my head unbidden.
Technically, I've been retired for some time now. All I ever do is occasionally write songs for friends, such as one, for a friend who had just turned 80. I wrote a song for him called, The First 80 Years are The Hardest.
I'm a little left of center, for sure, with Angels & Airwaves. But even when I get really weird, it's not that weird. It's not like some obscure Sonic Youth record or something. We don't take it quite that far. But what we do like are crescendos, and we do like when a song catches you off guard and it gives you the chills up and down your arms.
Then on to all the terrific american songwriters, from Tin Pan Alley to the Beatles, from Bob Dylan to Paul Simon. Whoever wrote and sang in the song form I have appreciated.
The show is called 'Todrick,' and the show follows my life and the friends that I've gathered over the past few years making YouTube videos. Every week, we're taking a brand new concept - a brand new original song, brand new hair, makeup, choreography, and making a video come to life on our shoestring budget.
I make YouTube viral videos all the time, and I made a video called 'Beauty and the Beat,' And as a strange, wacky coincidence, Justin Bieber dropped the song 'Beauty and a Beat.'
Sometimes I'll sing the same verse through the entire song, because the other verses aren't clicking. And when they do come to me, I'm in the middle of that same verse!
I had to be at least 8 or 9; I was listening to everything on the radio. You name it, I heard every song.
I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
To fans in a festival setting it's like a picnic. You want to have a good time with your friends in that crowd. And in the background you hear the band play, 'Oh, that's my favorite song!' everyone is there to enjoy the afternoon and that's about it.
There's a punk-rock attitude, clearly, to 'Hated.' There's even a punk-rock attitude to 'The Hangover,' I think. We start the movie with a Glenn Danzig song.
One Long Year was just a song here and there, and it was meant to reflect the mood that I was in but unfortunately it also reflected too little of any particular thing rather than hanging together as a whole album.
I have always had problems with my voice, and the piano helped me believe the song could be bigger than my voice, and I could play with new melodies and things that I couldn't on guitar. It was easier to make the sound fuller and easier to get away with not being as good.
When you've got an extra gear in your head where that's all you do, you've constantly got a little radar up. ... And when something hits that strikes that beeper, hits that radar, it's like my song skills kick right in and go, 'Oh, OK, there's a song in that.' And then I start trying to figure it out.
If I hear a conversation and somebody says something intriguing, my first thought is, 'Is that a song?' I write all year long, and at the end of the year I pull these forty or fifty things out and say which of these things do I want to record.
Singing is how I express everything. Hunger, needing new clothes... it's all through song.
At the end of the day, you sign a record deal and you understand where it could go if you had the right song.
When I'm rapping, like, a turn up song, I'm thinking about what the people want to hear; this is what they're going to like. When I'm singing, I'm, like, telling my story. I'm not worried if people like it; I'm just trying to be truthful, you know what I'm saying? I'm just talking about something that happened to me.
We had our unhappy moments but they got channelled into the kind of sadness that was necessary for singing a song about going nowhere. So it worked out very well I think.
I used to love going to shows and finding new bands, but the Internet takes the fun out of it. Like a band? You can buy and download every single song they have ever done within five minutes.
Family lore says I was named after the song 'Timothy' by The Buoys, a lovely little ditty about three guys who get trapped in a cave-in and resort to cannibalism; they eat Timothy.
In 1952, Muddy cut the song 'Rollin' Stone.' It was a nationwide success, and the song echoes down through rock n' roll history. Bob Dylan cut a tribute by the same name, an English band decided to call themselves the Rolling Stones, and the magazine that first embraced music as a serious cultural phenomenon was itself called 'Rolling Stone.'
I came to Nashville in the early '90s, and I thought, 'OK, enough is enough. I write songs; I just don't have the backbone to show it to anybody. I want to go to Nashville and learn how to properly write a song.'
Driving around with my dad, growing up, he would play everything: Philip Bailey, Manhattan Transfer, Frank Zappa, Cream. I'd be like, 'Dad, cut this stuff off!' And he'd say, 'No, you're gonna listen to it.' I didn't understand why he liked it so much. In my mind, I would be thinking about the theme song to 'Sonic the Hedgehog.'
Each member does whatever they want with the song and it totally changes it from whatever idea I hear around it. It turns it into a Sonic Youth song and completely away from it being a solo song.
'Crash' is the hardest song I've ever sang in my whole life. It's the lowest in my vocal register and the highest in my register, all within 15 seconds.
If a new artist wants to put out some sort of off-the-wall, crazy deep ballad about the sun or whatever, it might be hard to get traction. It's so much easier for someone established to put out a really heartfelt, deep song and get it played in radio.
I haven't always been into fitness. But I noticed that when I'd be on stage playing a show, I could hardly make it through the fifth song without having to take a breather.
My son - and what's a song? A thing begot within a pair of minutes, thereabout, a lump bred up in darkness.
Surprise, surprise! I have a band! I'm really excited that we have a song on the soundtrack of 'American Reunion' for that very reason.
So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.
Skrillex has been successful because he has a recognizable sound: You hear a dubstep song: even if it's not him, you think it's him.
I grew up in some suburb, I'd come out with a song about potholes in my lawn.
'Trilogy' was more of a claustrophobic body of work. Before it was released, I hadn't left my city for 21 years, and I had never been on a plane, not once. I spent my entire life on one setting; that's probably why pieces of the album feel like one long track, because that's what my life felt like. It felt like one long song.
'House of Balloons' was special because I had no deadlines, and nobody knew me, so there were no expectations. Spent a year making it perfect. Every song had at least, like, 7 different versions to them before picking the right one.
That's a song about reaching deep inside yourself where you can completely be who you are.
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