Quotes About Lyrics

I set myself a rule before I actually write a tune to the lyrics, and the rule is that I've got to take the lyrics on to a level of understanding before I can actually write music to them. What I'm doing is interpretation. If I don't write the lyrics, therefore I must interpret them to the best of my ability. So my rule is that I must understand it, but I don't necessarily have to accept.

Usually I will hear a sample, think of a theme and then it will take me a couple of days to write down some lyrics. Then I will decide that I hate those lyrics and rewrite. Then I will change all the music around. Then I will rewrite all the lyrics again. I am a bit of a perfectionist although you would never know it because all my songs are like chopped up and @#$%& up, but you see that's on purpose.

Folk music usually has an emphasis on the lyrics and melody. And those lyrics are usually relevant in some way. And it's populist in scope, which is also true of Bad Religion. So it's more meant to draw some parallels between the two. And I think even my voice and my delivery can be thought of as a little bit folky.

[The lyrics and melody] usually come a little simultaneously, but I would say the lyrics are first; usually I have the idea for a story in my head, or few lines.

Basically, no one else gives me any opinions on lyrics. I don't ask for them. If they did, I would listen.

It's crazy to see people having tattooed my lyrics on their body, and quite frankly writing is just an outlet for my voice and getting it out there.

The problem isn’t with rock lyrics, it’s with the fabric of this society itself.

When I see other rappers' lyrics of "I don't do what I don't like to do", I feel like it's really cool and there's also an envious side to me about it.

I was left to painstakingly deal with the aftermath of my avoidance later in life, in therapy or through the lyrics of my songs.

I work in bits and pieces. When I'm touring it's difficult. After touring, when I have space and time, it's a process, something I've been doing since I was 10 or 11 years old. I collect lyrics, melodies, bits and pieces, and finally it all comes together. It's hard to say - I've been trying to figure out how the process works.

The danger of these collaborations across disciplines is in having too strict of a division of labor - in my case, of getting stuck doing the music. When I make an album, I write music, I write lyrics, I come up with the visual design, etc. I get to do all of that stuff.

That was my intention, was to have it be from the perspective of my high-school-aged self, and to try and emulate the music that I listened to at that time. So to write essentially like a pop-punk song about musicals. I wanted the dichotomy of the tone of the music with the lyrics and my singing voice.

I don't think I ever wrote a song. I can write a lot of jokes, but when I try to write lyrics they're the most direct, non-figurative words, like, 'I like you, I like you,'... and that's it, for the whole song. People would go, 'Ooh, this guy's Dylan or something.' It gives me a lot more respect for songwriters, actually.

I don't have any favourite lyrics. Honestly, all of them I love 'em to death - it's the same with songs. I don't have just one favourite lyric, I love them all.

Most of all I like to sing my heart out to lyrics that really speak to people.

Depth on different levels is so important to me. You look at a band like The Beatles, all their material has so much depth to it. And I want people to be able to run away with my melodies and get lost in them and take the lyrics and be able to relate to them.

To all companies please stop using Xmas songs and inserting your own lyrics. Write your own music. I am boycotting you until you stop.

If you want meaning, you read poetry or a novel or something, you don't read song lyrics. You're supposed to listen to them with music.

Way back in the day, when I first started and had delusions of adequacy as a cartoonist, I would listen to music. When I switched to a career as a writer, I would try to listen to music, but if the songs had lyrics they would get in the way of the words I was trying to write. So I switched to listening to purely instrumental pieces.

Vocals are not central to what I do, and I've never liked singing live. I've always been more inspired by rhythm, texture, harmony than vocal melodies and lyrics. Plus, for me, I can better express my musical ideas through instrumental music than vocal music, the emotional interpretation of which can easily supersede the actual musical content or aim.

When I was working on the lyrics, I thought of all the lullabies we learn as children: "Away in the Manger," William Blake's lullabies. I realized that the key to lullabies is simplicity.

I think that a great song needs the full package. I think that a great song needs everything from lyrics, to melody, to music, and it needs to be interesting and it needs take you in and swallow you and swish you around, and then regurgitate you back in better form.

Only two to three per cent of an audience is interested in words and pays attention to lyrics; most of the rest of it is about image or the beat or the sound, or else it's a tribal thing - country & western, rap, heavy metal, with historical folk rock off in some kind of cult.

As a lyricist, you love to hear other great lyrics or other great concepts.

A lot of the people I was writing with think a lot more about lyrics and a lot more about the details from the beginning. That kind of thinking made me a little self-conscious because I was suddenly having to judge what I was doing early on in the process.

In Korean, my lyrics are witty and have twists. But translated into English, it doesn't come over. I've tried writing in English, just for me, but it doesn't work. I've got to know everything about a culture, and I don't.

A more detailed world is a more complicated and complex one, and therefore a more empathetic one. I feel Gord's Downie lyrics are exceptionally empathetic, or that's what they accomplish. The fact that they can cross all those cultural cliques and boundaries really amplifies that, to me.

If you really look at my lyrics, nobody's exempt. Nobody's exempt from observation, criticism or what I think is correction.

The younger people get into the lyrics in a different way; there's much more of a tactile understanding, which is the way I prefer it.

I'm not really good at writing sad sappy ballads. In terms of the lyrics not matching the vibe of the music, that's kind of the way my career has gone; everyone is a little confused about it all the time.

People have no discrepancy for me or my lyrics or the song.

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.

Whenever I write lyrics, in the back of my mind I always see a guy driving to work, driving to a really bad job, one of those horrible institutions, or one of those low squat buildings in Los Angeles. I write with that person in my mind.

Cynthia's lyrics always expressed the feelings people felt but they couldn't express themselves.

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 listen to some of the lyrics I used to write and I say, "Where was my head at when I wrote that?"

When I write, it is always the melody that comes first, and it just happens to be the case that the most beautiful tunes are sad, and the lyrics follow the mood of the melody.

The thing is, in English I'm able to write the lyrics as I'm making the song, once I'm done with the melody.

I'd break out in hives if I had to sing (`Stairway to Heaven') in every show. I wrote those lyrics and found that song to be of some importance and consequence in 1971, but 17 years later, I don't know. It's just not for me. I sang it at the Atlantic Records show because I'm an old softie and it was my way of saying thank you to Atlantic because I've been with them for 20 years. But no more of `Stairway to Heaven' for me.

I love when rappers have a off-beat, very abstract timing, and he certainly did.And any rapper who really approaches rapping with the art form of songwriting melodically - I know a bunch of rappers who actually go in before they write the lyrics and come up with the melody. And you can hear and feel that difference so much when that's the case.

I was a kid who got picked on in school, and now the guys beating up those kids were wearing red caps and using my music to fuel that aggression. But if they listen to the lyrics, the aggression is targeted at them.

I felt a kinship with country music, because country has lyrics that tell stories

I'm a bit of an insomniac. I'm always thinking. I've got a lot of ideas for lyrics and shows. I have a notepad by the side of the bed and voice recorders around the house.

I wanna be able to stand on the stage and hold out the mic and people sing all the lyrics to my song.

If I look at my old lyrics, they seem to be full of rage, but empty. There was an emptiness in my life.

Phillip is a repository of random snatches of film dialogue and song lyrics. To make room for all of it in his brain, he apparently cleared out all the areas where things like reason and common sense are stored.

Lyrics are for teenage girls, brah.

Walt Disney was a great believer in the use of song to convey story. He was primarily a storyman & story-driven songs were his 'pets.' He always asked what was going on with the song - he hated 'singing heads.' He loved learning about character & motivation thru music & lyrics.