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What makes a great song - you don't put it into words. You feel it. The perfect lyric. The perfect melody. It makes you feel something.
I'm a lyric soprano. I can try to step outside that and do different kind of singing, but it's not something I can sustain over the long haul, and what is good for your voice is good for your career.
In my bachelor days, I had a small upright piano in my kitchen. It cost £10 from eBay plus £70 delivery. It was because I'd seen an old photo of Tom Waits - with dirty dishes, empty bottles, a hot plate, a coffee machine and a piano strewn with lyric sheets - and fallen in love with it.
After using four different languages on an album, it's tough to decide which one I'm gonna actually learn to speak. I always study the lyric, make sure I know what I'm singing, and try to get the pronunciation as perfect as possible.
A lyric, it is true, is the expression of personal emotion, but then so is all poetry, and to suppose that there are several kinds of poetry, differing from each other in essence, is to be deceived by wholly artificial divisions which have no real being.
The popular songs that were written in the 1920s and '30s, '40s and early '50s were written by veterans - mostly men who'd had experience in life. How can you write a lyric if you haven't really lived life?
A lyric has to mean something to me, something that has happened to me.
Lyric helps invoke the core person. And, without lyric, it is difficult to touch the core. Lyrical music is the music of India.
I have a tape recorder, and I just sing into it. I like to write that way. Sometimes I'll just get melodic ideas, and then I'll go home and sit down and add the lyrics. Or sometimes I'll get a lyric idea that I love. Usually it's pretty combined. Usually I get some kind of a lyrical concept and a melody and work with that.
The fact that The Bridge contains folk lore and other material suitable to the epic form need not therefore prove its failure as a long lyric poem, with interrelated sections.
As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.
Every single lyric I've ever written I meant.
In fact, in lyric poetry, truthfulness becomes recognizable as a ring of truth within the medium itself.
The first set of lyrics for the first songs I ever wrote, which are the ones on 'Pretty Hate Machine,' came from private journal entries that I realized I was writing in lyric form.
Tom Sleigh's poetry is hard-earned and well founded. I great admire the way it refuses to cut emotional corners and yet achieves a sense of lyric absolution.
I'm not a pop song lyric writer. I can't just focus on one simple meaning or even a double entendre.
I'd rather sing a good lyric written by someone else than one of my own that is terrible.
Sometimes I'll be driving and a lyric will come into my head, and I will have to pull over and record it on my phone.
I've always thought of music as something which gives the words their flight and their wings and the music often comes first, although sometimes I'll have a concept, a title idea, a lyric idea that I want to write and the lyric will come first.
I'm a lyric man - I'm always looking for meaningful songs.
Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing.
It's very rare - and it does happen on occasion - where I'll take a piece of lyric and I'll just sit down and purposefully craft that melody around that lyric because I think the lyric is the wellspring for the song, without question.
You know, when I did 'American Idol' the three times, I tried to tell these kids you have to tell the story of the lyric.
He doesn't make it so complicated but just really allows the lyric to come through even though there's a lot of production going on. I think that's the key and that's the magic, it's making sure that people could still connect with the lyrics while they're on the dance floor.
Every night we all felt grateful to be there, stunned at the amount of people that are there, and stunned at their reactions. They go crazy; they know every lyric from eight years of age to eighty. It's unbelievable.
John F. Kennedy
A. P. J. Abdul Kalam
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