A Quote by Dewitt Bodeen
I suppose any note, no matter how sour, sounds like a song if you hold onto it long enough.
Related Quotes
If I have to hold a note for a long time, I imagine it as moving and spinning, for the note has to have life. In a way, a singer actually refreshes a note with every beat that it's held.
No matter your spiritual beliefs, if you hold any, the answer is the same: sometimes, why is not knowable. If you open the refrigerator door and a tub of Kozy Shack tapioca pudding tumbles out and splats open onto the floor, you clean it. You don’t stand there and question why it happened, how it was possible. Why doesn’t matter now.
I love singing, but I feel very naked and very vulnerable when I'm singing sometimes. With acting, I always think that it doesn't matter what you are as long as you're truthful in that moment. But with singing, you always have to hit the note. It's not like you can just go, 'Oh, it doesn't really matter what note you sing!'
The older I get, the more I think it's this listening. You listen for it, and you have a bit of patience. And it'll come until it sounds - to me, the best songs I've written, I think, are ones that I can't hear anything - any of myself in it. It sounds like a cover song, like somebody else's song - really something you've stolen wholesale off a radio that you've listened to in someone else's flat.
Song: Heloise and Abelard by Elizabeth Devlin. Beyond the a propros subject matter, this lady can really play the Autoharp. This song sounds like something you'd find on a gramophone record.
A song is a favorite song, not because the singer can hit and hold a high note, but because of the words, their meaning.
I have never experienced anything like walking out onto the stage of an oversold venue and, before the first note is struck, realizing that there is not going to be enough oxygen for all of us.
The whole life of a song doesn't end with the way that it sounds on the record. How does this song grow? What works live? What do people like to sing along to?
The wonderful thing about theater is that anything, no matter how tendentious, no matter how stupid it sounds at first glance, can be made to work if it is charged with freshness and originality. You can have an entirely political Shakespeare production and I'll be sitting on the edge of my seat as long as it's surprising, as long as it's not just the standard, "out of the box" pseudo-transgressive production that we just see too much of nowadays.
A lot of people are really quick to say, "That song sounds like this." Or you - "He's tryin' to sound like this." And I'm always like, "You're damn right I am. That's how - that's why we're all here." You know, we all grew up idolizing another musician. That's how this works. That's how music is created.
but sometimes one person can hold you up in life, keep you standing, and without that hand to hold, you can find yourself free-falling no matter how strong you used to be, no matter how hard you try to remain steady.
It isn't a matter of how long, or even how much you know. It's a way of looking at things, how much you see and how you think. I suppose it's, well, perspective. . . When you start seein' five sides to a four-sided object, that's when you get the gray robe.
I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.
Even in the beginning, when we knew there was a legal argument about how much our song sounds like his song, as one songwriter to another, I wasn't sure that Cat Stevens would take that as bad.
I'm naive enough to think that love is always good no matter how long ago, no matter the circumstances.
I'll play about with different sounds in the studio with no concept of music at all. I'll just build up a song in layers and when it sounds all right and gives me a vibe, that's enough, and I'll add vocals and move on.
