A Quote by Janelle Monae

Some songs you get. Some songs you may not. And I think that's the beauty of art: to question and to ask, to understand the deeper meaning after two or three or four listenings.
In some songs, like propaganda songs-and don't get me wrong, I love some propaganda songs. They're some of my favorite songs in the world. It's just that I don't enjoy writing it.
Music is an emotion and it makes you feel a certain way. Some songs make you want to dance, while some make you think. Some songs are positive, while some people see those songs as negative.
Obviously I got known for some other songs early on, and some of those were rock'n'roll songs. Some of them were melodic pop songs. And I've done lots of different things, as you know, but every so often I get drawn back.
I fell in love with music at the age of four, and I remember my grandmother being on the piano teaching me some church songs, some primary songs.
I think there are some songs that stand the test of time better than others for sure. I think some songs go out of favour; I'll get sick of a song for a while, and I won't play it; then it'll make a comeback.
I've always covered some Dylan songs. I do one or two. And I do them because they're great songs. You know some people cover songs they wish they could have written, not me. I like to cover songs I know I could not have ever written.
When I listen to songs, I can smell a rat. I like songs that speak to me with some deeper truth.
It's easier for fans to consume one or two songs at a time. Not everybody buys records, so some songs can get overlooked.
That's what is so great about being able to record a 13-song album. You can do a very eclectic group of songs. You do have some almost pop songs in there, but you do have your traditional country, story songs. You have your ballads, your happy songs, your sad songs, your love songs, and your feisty songs.
We're a live band. Some bands write their songs in the studio - we don't do that. We're playing songs on this tour that were written three days before the tour. And it feels good to try these songs.
I'd get a train to some town and wander about to find a decent spot. Sometimes I'd play for three hours; sometimes I'd get moved on after three songs.
I looked through our catalog year by year, and I saw that there were pockets of time when we wrote some terrific songs. Then all of a sudden, we'd go for another two or three months and there weren't great songs.
When you play all that as a body of work there are four great songs, four mediocre songs and four bad songs. I didn't know it at the time; I was just doing my best.
I do think that some of my songs, like Take a Minute, are like the train between the two worlds. It starts out with the question of "how did Gandhi ever withstand the hunger strikes and all / he didn't do it to gain power or money as I recall," and its sweep reaches all the way to this part of the world. I think maybe I'm a translator, because I lived in both worlds and truly understand them. I understand the discontent that comes from not having. But I also understand the anxiety that comes from wealth and convenience.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
There are no leftover Tool songs because of the process it takes to compose our songs - the way we hash it out in a room with all three or four of us, that there's tons of riffs and jams and things. But there's no put-together songs that are sitting in the eaves.
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