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.

I was quite surprised when I started looking at the lyrics for 'Punk Prayer'. Given its brutal style, I did not expect the lyrics to be so well written and thought through. But the more I understood of it, the more I realised that this was not only a protest, it was brilliant art as well. So I decided I would try to strip away the layers that made me sceptical in the first place, and focus on the desperate beauty Pussy Riot have conceived in this song.

I've always felt that the game itself is pretty much a melody and I am there to provide the lyrics. You want the lyrics to match the melody, because if you are composing a song or recording a song, it's cacophonous if they don't match.

People are always asking me what my lyrics mean. Does it mean this, does it mean that, that's all anybody wants to know. F**k them, darling. I say what any decent poet would say if you dared ask him to analyze his work: If you see it, dear, then it's there. ... I think my melodies are superior to my lyrics. ... I was never too keen on the British music press. They've called us a supermarket hype, and they used to suggest that we didn't write our own songs.

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.

Sometimes I start with lyrics - rarely - but sometimes I might have an idea for some lyrics that I wanna say. I write them down and figure out how to use that in a melody to write a song.

Sometimes people will request a song I haven't played in a while and I'll play it and singing the lyrics will mean something different to me as a 35 year-old person than they did when I was 25. I know I'm still that person who wrote it and thought I knew what I meant when I was writing them. They meant something very exact to me in that time of my life. But it's really cool when those same lyrics can transform into something else and mean something entirely different to me.

And just as you can find hip-hop lyrics beating up on all these groups, including young Black men themselves, the primary producers of the music, you can also find lyrics celebrating them.

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 make up new lyrics to well-known lullabies. Mostly because I don't actually know a lot of the lyrics.

When I'm writing a lyric, I totally forget about the music. I'm just looking at the lyric and thinking about it almost as a separate entity. And then I'll go to my keyboard with all the lyrics printed out and try to think of how to make this a complete musical thing. I've got a very basic keyboard with some presets.

My role is almost a sight-gag. I have to be a woman to sing the lyrics "I am a man" to have it be a joke. I start the lyric in a male-register and a whole coloratura up into a soprano. And other points in the show... like the guy who likes to be treated like a baby and wear a diaper!

Not only do you need great lyrics, a great message, a great story, great vocals, great chords... you also need great instrumentation, great editing, great sonics, great mixing, and great mastering. It all comes together to make something truly great, and I think each element combines together to create a powerful impact on the consumer.

My reaction to Radiohead isn't as simple as jealousy. Jealousy just burns; Radiohead infuriate me. But if it were only that, I wouldn't go back and listen to those records again and again. Listening to Radiohead makes me fell like I'm a Salieri to their Mozart. Yorke's lyrics make me want to give up. I could never in my wildest dreams find something as beautiful as they find for a single song - let alone album after album.

As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.

I'm glad that the lyrics reach people and make them understand that we're all the same, really.

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 tend to get a little quirkier and crazier with my lyrics and come from a different angle when I'm writing for myself.

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

Hip hop scholarship must strive to reflect the form it interrogates, offering the same features as the best hip hop: seductive rhythms, throbbing beats, intelligent lyrics, soulful samples, and a sense of joy that is never exhausted in one sitting.

I don't think my lyrics go so well when I try to sound poetic. Some people do that really well. If I did that I'd feel like it wouldn't be genuine.

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.

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.

Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don't look at myself as a visual artist. I make music.

Songwriters might write cynical, world-wise lyrics and constantly talk about money, but most of us are downright naive when it comes to business.

Because God loves us, he gives us lyrics to sing when our hearts can't form words.

I have found in black metal the lyrics are profoundly beautiful... a pathos and mythos at the same time.

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.

If conversation was the lyrics, laughter was the music, making time spent together a melody that could be replayed over and over without getting stale.

I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.

All the way out I listen to the car AM radio, bad lyrics of trailer park love, gin and tonic love, strobe light love, lost and found love, lost and found and lost love, lost and lost and lost love—some people were having no luck at all. The DJ sounds quick and smooth and after-shaved, the rest of the world a mess by comparison.

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 was younger, I was terrified to express anger because it would often kick-start a horrible reaction in the men in my life. So I bit my tongue. 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 would always write lyrics and songs on the piano.

I remember going into a raggedy studio, still with my work uniform on. At the time, I was driving money trucks for Wells Fargo, so I had my gun and hat, which weighed me down in the heat. It was 97 degrees here in New York, and they had to turn the air conditioner off because it was too loud. So, I say, "Damn, it's hot in here!" That's how we came up with the song, "Damn, It's Hot." It was from our soul. We just got together, sang and made our own lyrics.

In most of my films I write the music into the script. I'm listening to songs and lyrics that empower the themes of the film. There's a lot of Indigenous music that has not been heard widely and I love the idea of giving that music to the rest of the world.

I think the difference between a good song and a great song is... honestly, I think the lyrics, because if you have a really solid melody and solid track and everything is there but then the lyric is just okay, then you've got a good song.

If your life had lyrics, would they be any good?

What a gulf between impression and expression! That’s our ironic fate—to have Shakespearean feelings and (unless by some billion-to-one chance we happen to be Shakespeare) to talk about them like automobile salesmen or teen-agers or college professors. We practice alchemy in reverse—touch gold and it turns into lead; touch the pure lyrics of experience, and they turn into the verbal equivalents of tripe and hogwash.

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.

I write my songs usually while I'm walking around. Or in a car. Or in a bus, a plane, something like that. I jot down lyrics wherever I am. Usually it's on a vomit bag on an airplane or something. I just look for a pen.

When I'm in Los Angeles, it's hard to be creative. For me, New Orleans is one of those places that's like a muse. You can hear music on the streets. There's a certain character the city has that inspires you when you're needing to write lyrics and come up with melodies and come up with rhythm and blues. The city has a pulse and it's an inspiration for me.

What I love about lyrics is that they don't have to be very complicated. A good sentence over a great chord with a good melody - all you need is that one moment.

When I have just sat down and tried to write the lyrics of a song, usually about half of it sounds like bullshit. I just have to go away from something and come back to it again later. I do a lot of editing and switching around and putting little pieces together to get the right mood and personality, and it takes me forever to get a song finished.

Sometimes I do a Dylan song and it seems to fit me so right that I figure maybe I wrote it. Dylan didn’t always do it for me as a singer, not in the early days, but then I started listening to the lyrics. That sold me.

When you are happy, you enjoy music, when you are sad, you understand lyrics