What I don't like to hear in music is something has not been thought through: that a sound is just there randomly. I want to make sure that every single little noise that's in my song is there because it's supposed to be there.
I can't just sit down and make a song in a day. It's only possible if you focus on the music and not the sound.
Penitentiary songs have been a love of mine for years. They are so wonderful.
If Paul McCartney tells me that so-and-so song is his favorite song, what do I care? What do I care what anybody else says?
Any song I don't feel good about, I shelve. Anything you ever hear me sing, it's because I want to.
I decided I was just going to sing the type of songs I gravitated toward and inspired me and moved me. I was going to let the people whose job it was to decide what places to put it, and let them do that. I'll stick to the singing part.
I naively thought I had to go door to door, find somebody who could record me singing some songs. I didn't know Music Row, I didn't know anything! So after six or seven months, I went back home and went to college.
I try to write relevant songs about life and whatever I'm going through and whatever people are going through.
I wanted to do a summary of my life and career. There’s been so many different looks, and so many types of songs that have become iconic, so it was just kind of fun to look back on everything
You should vote for Neoprene Byzantine in the Hot Hundred, they're really sweet guys and that Moscow song is just wow! Hurry guys voting closes really soon mwah!
Singing what's in your heart? Naming the things you love and loathe? You can get hurt that way. Hell, you will get hurt that way. But you'll get hurt trying to hide away in all that silence and leave your life unsung. There's no future without tears. Are you really setting your hopes on not getting hurt at all? You think that's an option? You clearly aren't listening to enough Morrissey songs.
Most of my songs are about insensitivity of some kind.
What I'm most pleased about is that there's no particular decline. The songs I wrote 40 years ago are no worse and no better - there's a consistency.
Willy DeVille knows the truth of a city street and the courage in a ghetto love song. And the harsh reality in his voice and phrasing is yesterday, today, and tomorrow - timeless in the same way that loneliness, no money, and troubles find each other and never quit for a minute.
Typically, the theme of my albums, if there is a theme, is, 'How does it feel?' And that always leads to love songs. It just does.
Comedy is the one absolutely self-aware art form. Actually, hip-hop's another one, I suppose. Because in your songs you're talking about how good a hip-hop artist you are. It's like a painter painting a panting of himself painting a painting.
Every song brings back memories, like I remember where I wrote all these songs. 'Universal Heartbeat' was my apartment in New York City. 'My Sister' was at my apartment in Boston. I remember places and I remember what I was thinking when I wrote it.
Whatever I think the song sounds like is what I'll name it. It's a feeling thing; it's not logical at all.
Sex contains all, Bodies, Souls, meanings, proofs, purities, delicacies, results, promulgations, Songs, commands, health, pride, the maternal mystery, the seminal milk; All hopes, benefactions, bestowals, All the passions, loves, beauties, delights of the earth, All the governments, judges, gods, follow'd persons of the earth, These are contain'd in sex, as parts of itself, and justifications of itself.
Father, may my song today be a sweet sound in Your ears-even if in Yours alone. Amen.
I don't play an instrument - I just write in my head, and I usually hear fully formed songs. 'We Are Young' turned out so much like it was in my head. But it also exceeded all my expectations.
Lately I've been falling asleep listening to 'Common One' by Van Morrison, specifically the song 'Summertime in England.' It's 15 minutes long, so to make it through the entire song is a real task unto itself, but Van has that emotional payoff that makes even his most tiresome songs more powerful than most people's entire catalog.
The sap of Spring in the young wood a-stir Will celebrate with green the Mother, And every song-bird shout awhile for her; But we are gifted, even in November Rawest of seasons, with so huge a sense Of Her nakedly worn magnificence We forget cruelty and past betrayal, Heedless of where the next bright bolt may fall.
You put a big bird in a small cage, it'll sing you a song
The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.
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