Song Quotes

I've really enjoyed playing live shows, because sometimes things we'll just happen - sometimes a song will go on for 10 minutes. It always depends on the crowd. But it's always kinda different, which is cool.

Now I know I understand that it was Sgt. Pepper's Band, that put the sixties into song, where have all the heroes gone?

When two souls compose a single song, The muse fans Livid wrath before long.

There’s little kids on trains coming up to me, singing my theme song, and they can barely walk.

When you do a song new live on stage, it's kind of a bit weird until it gets worn in, you know, like oiled up a bit. It's still a little bit stiff until you really thrashed at it for a few weeks.

The songs are inspired by my experiences. Sometimes they are more than my real-life and, conversely, my life is more than just my songs.

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 have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.

I've just put my heart and soul in a song and need at least a week to recover.

I went to see 'Listen to My Heart: The Songs of David Friedman.' I have been a fan of his music for years, and I was invited to opening night because I know one of the producers.

Some people have said that I can 'hear' a hit song, meaning that I can tell the first time a song is played for me if it has potential. I have been able to hear some of the hits that way, but I can also 'feel' one.

The Bowery was a place that would let us do original songs - not just covers - but we would have to work for tips, so we learned how to work an audience. In order to keep our jobs, we had to keep people happy, so that meant playing the latest Lynyrd Skynyrd and ZZ Top or Merle Haggard.

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.

I do write. I actually do want to start my music as well. My sister and I are starting a band. I've been playing a guitar for nine years, and she plays piano, and we sing together. We're going to start up something soon. I mostly am writing songs right now actually, but I would love to write a script someday.

I took guitar lessons and recorded the song in New York. It was kind of a dream. I got to pretend I was a recording artist for a couple days.

Well mostly in song writing my experience is that there isn't so much inspiration as hard work. You sit there for hours, days and weeks with a guitar and piano until something good comes.

Anyone who's got a guitar, you like to pick it up. I can play a couple of songs, some '50s rock and roll, a bit of Elvis. That's it, really - I'm not a musician, I'm not a singer.

There were times I used to go to parties when I was, you know, like 15-, 16-years-old, and I'd always bring my guitar, and all my friends would be like, sing one of the Smokey songs. And everything I sang was his music, and I could sound just like him.

When I got into music, I wanted to learn guitar just enough to be able to write songs. I wanted to be able to express myself.

Heck, I'm no Henry Mancini or Michel Legrand. I just play the guitar and write songs.

The mind itself is an art object ... The mind is a blue guitar on which we improvise the song of the world.

I was just learning to play guitar when Tracy Chapman came out. She wrote these songs, she played them by herself and I so admired her for that.

There are some good songs, but not the kind of song-writing that I remember, that I like. Springsteen still does it. Paul Simon, and there are also good writers, but that doesn't dominate the charts.

I'm not trouble at all. I'm just a guy trying to get a girl to give him the time of day. I'm like every song on the radio.

The songs come from a vulnerable place, but expressing that part of yourself can also make you feel fearless.

Hear this Robert Zimmerman, I wrote a song for you, about a strange young man called Dylan with a voice like sand and glue.

On Heartbreaker, I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs.

Love songs last because they are about feelings that don't change.

God is infinitely creative, and everyone's different, and everyone has a different path, a different lesson, a different song, a different face, a different voice.

I hadn't played any music since freshman year of college, more than thirty years ago, so I had to relearn everything. I started writing songs. Some were dance and trance songs (I listen to them a lot while I'm writing), and some were love songs, because that after all is what music is about - dancing and trancing and love and love's setbacks.

There aren't that many songs that pay homage to the DJ. They are the ones getting artists' music out there. They are the ones getting the club popping. But no one's giving them any love.

Writing songs about fancying people in dance clubs is all very well but it's not the be-all and end-all. There are other topics.

Jack White has just done a song for Coca-Cola. End of. He ceases to be in the club. And he looks like Zorro on doughnuts.

I go to a very visual place when I'm singing. It's very cinematic and I get this feeling of space. I love when music does that.

Writing songs is about trying to connect with people on a deeper spiritual level - but I'm not a fan of contemporary Christian music.

My second album was written while I was on the road promoting the first record. I tried to take my personal experiences and elevate them to universal experiences, so that I wasn't writing songs about living on a tour bus or being on a TV set for the first time.

Bob Dylan and John Lennon and Bruce Springsteen, these are soul guys. Bruce Springsteen might not sing like Otis Redding, but he sings with white soul. He's singing and he's writing songs from the bottom of his gut.

Bob Altman got nothing from the TV series 'M*A*S*H,' and the royalties for the theme song went to his oldest son, Michael, who wrote it as a 15-year-old poet!

What I'm doing is basically the same as Bob Dylan did with folk songs and Woody Guthrie songs, the same as folk music's always done. I'm not going to sing about ploughing, but I'll write a song that sounds like it should be about ploughing.

With smoking axle hot with speed, with steeds of fire and steam, Wide-waked To-day leaves Yesterday behind him like a dream. Still, from the hurrying train of Life, fly backward far and fast The milestones of the fathers, the landmarks of the past. But human hearts remain unchanged: the sorrow and the sin, The loves and hopes and fears of old, are to our own akin; And if, in tales our fathers told, the songs our mothers sung, Tradition wears a snowy beard, Romance is always young.

I have a passion for ballad. . . . They are the gypsy children of song, born under green hedgerows in the leafy lanes and bypaths of literature,--in the genial Summertime.

I was kind of known as a ballad singer. People would send ballads. Some of them would go over my shoulder and float off the top of my head, and I just didn't feel anything. Then I would hear a song that would absolutely shake me.

Some people tap their feet, some people snap their fingers, and some people sway back and forth. I just sorta do 'em all together, I guess.

Now here's a funky introduction of how nice I am Tell your mother, tell your father, send a telegram.

You must hear the birds song without attempting to render it into nouns and verbs.

No one worries about genre when they're dancing. They're not asking themselves, 'Is this song a dubstep song?'

There is always, in the fine arts, a physical interface between the artist's esthetic vision and the material result he seeks. The interface may be the application of brush to canvas, chisel to marble, bow to string... It may be the control of voice in song or the control of body in dance. It is the mastery of the interface that comprises the artistry; it is what constitutes the 'art' in fine art.

A well-composed song strikes the mind and softens the feelings, and produces a greater effect than a moral work, which convinces our reason, but does not warm our feelings, nor effect the slightest alteration in our habits

Love is fragile. And we're not always its best caretakers. We just muddle through and do the best we can. And hope this fragile thing survives against all odds.

It was my 16th birthday - my mom and dad gave me my Goya classical guitar that day. I sat down, wrote this song, and I just knew that that was the only thing I could ever really do - write songs and sing them to people.