Quotes About Lyrics

There's no difference between lyrics and poetry. Words are words. The only difference is the people who are in academic positions and call themselves poets and have an academic stance. They've got something to lose if they say it's all poetry; if there's not music to it, and you have to wear a certain kind of checkered shirt or something like that. It's all the same. Lyrics are lyrics, poetry is poetry, lyrics are poetry, and poetry is lyrics. They are interchangeable to me.

maybe memories are like karaoke-where you realize up on the stage, with all those lyrics scrawling across the screen's bottom, and with everybody clapping at you, that you didn't know even half the lyrics to your all-time favourite song. Only afterwards, when someone else is up on stage humiliating themselves amid the clapping and laughing, do you realize that what you liiked most about your favourite song was precisely your ignorance of its full meaning- and you read more into it than maybe existed in the first place. I think it's better to not know the lyrics to your life.

I'm particularly attuned to lyrics, and very often a bad set of lyrics will ruin a song for me, while my friends will be just grooving on the music. I don't mean that it has to be about anything in particular, but there has to be some art applied to it, simple or otherwise.

I got involved, for the most part, in the actual song construction, lyrics even. I didn't want to write the lyrics, but if there was a howler in there, I definitely pointed it out. Just trying to bring it up to a higher level. Of course, after a couple records, people get fed up with that. That's fine.

We worked very hard to make the lyrics suit the music. I can't, like Elton John, for example, compose by lyrics. Elton has a great talent for that. Whatever you give him, including your questions, he composes in half an hour and makes a great song out of it.

Sometimes melody and sometimes lyrics. It depends on the tempo and feel of the song. Slower pieces usually begin with melody and faster ones with lyrics. I write for the song and it leads me to my conclusion.

Well, you know, it's a younger person, and it was maybe an effort to be a little more sincere and adult about the lyrics occasionally, which is a good thing. It's nice that it's not too self-conscious like some of our lyrics could be.

I'm so bad at lyrics. I'm always trying to get better. Sometimes, the song can restrict your lyrics - if you're trying to make a poppy song, you don't want to sing something that sounds like it could be on an At the Drive-In song.

Pretty much any given day, barring some major distraction, I get melodies coming to me. Lyrics don't come quite as easily. So I've been inventing little projects and challenges to sort of kick my ass with the lyrics.

I want to say my life inspires my lyrics, but I also try to abstract them as much as possible because I don't want to refer to my life explicitly. I'm definitely really embarrassed by my lyrics.

I approach song writing three different ways. One way is where I write the initial melody and lyrics first and then take it in to the producer to collaborate. Another way is where the producer sends me his initial musical track ideas and then I write the lyrics and melody over his track. The third way is where we just jam out in the studio and see what we come up with.

You can get into a comfort zone writing lyrics, like wearing a mask. But I wanted to feel uncomfortable when I was listening back to the lyrics; I wanted to squirm.

I don't really plan what comes out of my mouth, and that's what makes most of my lyrics entertaining.

Sometimes an idea from six years ago will come to me out of the blue. And maybe I haven't even seen the lyrics I wrote down, but I'll just have this physical memory of having written it, and in my mind I can see the piece of paper, and the words I wrote down, and then by muscle memory, I'll remember the chords that go along with it.

A lot of times when I'm writing lyrics, I just think about insecurities that I might have and turn them into a scene. Some things may be true, and some things may not.

Hopefully people can look at our band and see that we're a heavy rock band. We're definitely not a metal band, but we're a band that focuses on meaningful lyrics and melody.

The only thing I can think of is my favorite album at the moment by this guy called Father John Misty, and the album is called I Love You, Honeybear. It's just brilliant. It's the album I'm currently obsessed with. It is original, and the lyrics are fantastic and [it's] brilliant. So that's blowing me away.

The dilemma of the eighth-grade dance is that boys and girls use music in different ways. Girls enjoy music they can dance to, music with strong vocals and catchy melodies. Boys, on the other hand, enjoy music they can improve by making up filthy new lyrics.

Too many times you come across lyrics that sound like you've heard them before or you can't really relate to them. And I think that I write songs that sound fresh and sensual in kind of a layered, lush way. But I also think that they are real, and that's why I wanted to call the record 'Inside Out.'

I used to sit on the roof of the apartment where Jim Morrison used to write his early lyrics

It's difficult for me to describe my own music; every song is an experience that I set to music. There's no lyrics, no singer, just instruments, but I'm sure you can feel what the song is talking about just by listen to it. I can't describe a feeling, my songs are feelings.

So, you’re hitting on Clare the Fair.” “I’m not hitting on her. I’m exploring the possibility of seeing her on social terms.” “He’s hitting on her,” Owen said around a mouthful of chips. “You’ve still got that thing you had for her back in high school. Are you still writing bad song lyrics about heartbreak?” “Suck me. And they weren’t that bad.” “Yeah, they were,” Ryder disagreed. “But at least now we don’t have to listen to you playing your keyboard and howling them down the hall.

I feel like I want to write some songs and I don't know how to go about doing it. Usually it's the lyrics that are a problem, and I think I am not really cut out to be a lyricist.

If Words are the Lyrics, and Laughter the Melody, then a Relationship becomes a Symphony.

I was going on this desert adventure with some friends and we were like, "How amazing would it be to just drag all these mirrors out there?" A lot of times I do things as an impulse and find out my inspirations afterward. Even with songs and lyrics, it can take me years to find out what I was actually trying to do.

CD's are amazing because you get the artwork, you get to look at the lyrics, you get to look at the behind-the-scenes photos or something.

I never sit and fill a journal with lyrics. Most of the time I'm trying to write a feeling, not a story. I'm not necessarily trying to describe the details of a place or event so much as the feeling of the thing. It is a kind of weird alchemy that is elusive until it feels right.

If you actually dissect the lyrics in 'Motley Crue', you'll notice that there's a lot going on beneath the surface.

Although it's pretty rare that I'll get completed, finished lyrics to a song and feel like it's done, and then decide that it's not worth doing. Usually, I can tell along the way - even if it's something I've been working on for a couple of months - that it's just not going to work. Maybe I'll come back to it a few months or even a year later, or maybe it's just gone.

I usually start writing stories from tone and not from content - kind of like people who create music and invent the lyrics later on.

Pop music has always adopted the style of marrying upbeat melodies to dour lyrics.

I am a big Pink Floyd fan. That is where a lot of the concept lyrics come from.

I get even more nervous singing when everyone's fallen silent, but I really try to communicate the meaning of the lyrics, and there's people there listening to that, and if they're moved by it, then I'm moved as well.

I was never a 'sit down with a notepad and write lyrics' kind of person.

I was a huge fan of this band called Sparks. It was a pretty good inauguration to music since their music is quite complex. They were a little glammy, and me - being a kid and not really understanding the complexity of grown-up lyrics - I took the best out of it. But at the same time, it was mysterious enough and too far away from me for me to really be able to reach it. But they were my first love affair in the world of music. I loved that band.

I should attempt to write a love song, I have written lots of poetry about love so I could turn those into lyrics. I'm a sucker for romance - always have been, always will be. I love walking down the beach and listening to my iPod and belting them out. What would we do without love songs?

I have had much to learn from Sweden's poetry and, more especially, from her lyrics of the last generation.

I think, there are a couple of songs. I'm really proud of How far I'll Go. I literally locked myself up in my childhood bedroom at my parents' house to write those lyrics. I wanted to get to my angstiest possible place. So I went method on that.

For the version of this CD released in Japan, a translation of the English lyrics is included, but there are lots of places where meanings are lost in the process of translation.

Metaphors are not user-friendly. They're difficult to find and difficult to use well. Unfortunately, metaphors are a mainstay of good lyric writing-indeed of most creative writing. ...metaphors support lyrics like bones.

From her gospel-singing mother Cissy Houston, her legendary pop-diva cousin Dionne Warwick, and her Queen of Soul godmother Aretha Franklin, she [Whitney Houston] inherited gifts for skillfully interpreting lyrics and endowing them with new depth and jeweled nuance.

If you're 30, 40 years old, you're not getting listened to by minors. Like, Jay Z has some of the sickest lyrics ever, but I would never buy his CD, just because of my age and because of his age.

I love knowing that people are connecting to my lyrics, my music and me.

But if you get a kick out of "The Jerry Springer Show," you're going to love it! The idea of hearing these lyrics and profanities - like the chorus at the top of the show - the idea that we're going to hear it in Carnegie Hall is just genius. It's been written with real care! It's not some crappy little musical that somehow found its way off-Broadway with vulgar-intentions. This is really beautiful, operatic music. It has a place in Carnegie Hall.

I saw that something changed in terms of the way I approach writing. I don't know. Before, everything was just sort of pieced together; and more and more nowadays I'll have complete songs - chords, lyrics, a melody - and we'll apply to those songs what we feel is required. That has happened much more on Humbug album than on any of the others.

I'm used to getting sexy sometimes in the lyrics.

How can you consider flower power outdated? The essence of my lyrics is the desire for peace and harmony. That's all anyone has ever wanted. How could it become outdated?

Everyone can of course take their own meaning, that's the beauty of music and lyrics, but to me it seems like everything is about being attached to the past and being afraid of moving forward, afraid of that big dive or step and losing what was.