A Quote by Tom Araya

Sometimes I'll sing the same verse through the entire song, because the other verses aren't clicking. And when they do come to me, I'm in the middle of that same verse! — © Tom Araya
Sometimes I'll sing the same verse through the entire song, because the other verses aren't clicking. And when they do come to me, I'm in the middle of that same verse!
Like a good song, life has verses, the goliards had taught me. Each verse has to be sung. It takes all of them to make a song. It is the entire chanson you name, but when you think of it, when you smile, it is a favorite verse that delights your ears.
One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.
I didn't know how write a song, (verse, chorus, verse, chorus, bridge, chorus, bridge, verse), etc., and I didn't know how to write lyrics, so that's when I thought, well, I don't have to write a song with all those verses and choruses or lyrics. I can just sing everything the way I want to. So I sang all the instruments with my voice and just went with it.
I've written many extra verses to songs that I learned to sing - an extra verse about a friend, or just add some verse - and that led to writing my own songs.
I think what I do really well is that I can 'chameleon' myself into many styles at a very fast pace, sometimes in the same verse of a song.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
When the Beatles wrote 'Paperback Writer,' it couldn't have been the same old thing. You can hear so many influences in it, from the blues to Bach, and it's not just verse, chorus, verse, chorus, bridge chorus. They start off singing a cappella, almost like a Bach chorale, and the song goes into this bluesy guitar riff.
It was Rick's Rubin idea to have the 'Brooklyn' verse repeat. It already was a story, but having that made it a folk song. Instead of this rambling march of verses, Rick understands that music needs hooks. You need that repeated chorus, that everyone can sing along to.
If I do a song with a chorus and a verse, it takes me about 25 minutes. If I do a song with two verses or stretch out the song, it takes me about 30 to 35 minutes.
In a lot of African music, the singers are just singing whatever they feel at the time - because the instrumentation is repetitive, they can come and go as they please. That's how we approach it. Not verse-chorus-verse.
I've always written pop songs. I tend to take inspiration from more experimental genres, like ambient music, but at the root of the song, it's verse-chorus-verse.
Sometimes I write from the end of the verse to the beginning of the verse.
Guys that preach verse-by-verse through books of the Bible - that is just cheating. It's cheating because that would be easy, first of all. That isn't how you grow people. No one in the Scripture modeled that.
Write verse, not poetry. The public wants verse. If you have a talent for poetry, then don't by any means mother it, but try your hand at verse.
Verse hath a middle nature: heaven keeps souls, The grave keeps bodies, verse the fame enrols.
There is a real formula to writing music, verse, chorus, verse, chorus, bridge. It's very formulaic. The subject matter that you can address in pop music is somewhat restricted. It just doesn't allow that same emotive quality that you can put into poetry.
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