A Quote by Jarvis Cocker

A song can't be completely serious if you rhyme melodic with alcoholic. — © Jarvis Cocker
A song can't be completely serious if you rhyme melodic with alcoholic.
Rhyme to kill, rhyme to murder, rhyme to stomp, Rhyme to ill, rhyme to romp, Rhyme to smack, rhyme to shock, rhyme to roll, Rhyme to destroy anything, toy boy. On the microphone: I'm Poppa Large, big shot on the East Coast.
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.
Some rhyme a neebor's name to lash; Some rhyme (vain thought!) for needfu' cash; Some rhyme to court the countra clash, An' raise a din; For me, an aim I never fash; I rhyme for fun.
If there's a track that's rhyme friendly, the verse will basically write itself. If the track is less rhyme friendly, you have to put forth a little more effort to get the song out.
"Tabernacle" was probably the easiest song I'd ever wrote because all I really had to do was rhyme the words since the whole story, front to back, was already in my head. All I needed to do was verbalize it, and if it didn't have to rhyme I could've just freestyled it because I already knew what I wanted to say.
Music lives in me. Life is a song to me. I have the gift of rhyme, and I'm always trying to write and rhyme. Music is just natural everyday occurrence with me.
I think the B-52's were a huge influence on Sleater-Kinney. The way that there'd be a really interesting guitar line that'd be really melodic and kind of simplistic, I really related to that. The sense of melody is really intense and fun. It's not just traditional song structures, but it's very melodic and draws you in, in kind of an immediate way.
That I'm an alcoholic is completely ridiculous.
If you decide on having an alcoholic at your party, make sure it's a large gathering. This way, until the alcoholic begins removing their clothes or dangling the cat out the window, they can sort of blend in. An alcoholic at a small gathering is called an intervention.
Note to self-give serious thought to becoming an alcoholic.
Basically, I'm going to take what you did, the bare-bones structure of what you were trying to do, how you were attacking the song, and attack it in pretty much the same way, just with more intensity to show you that you could've come harder. Like, I've been in situations where I've had to tell a cat how to rhyme his rhyme.
Robert Burns enriched Scottish song with his genius and is mainly responsible for the rich treasure house of song that we enjoy today. He collected folk songs, retained the melodic line, kept what words were usable and rewrote the rest. He didn't claim ownership.
There are no limitations with a song. To me a song is a little piece of art. It can be whatever you like it to be. You can write the simplest song, and that's lovely, or you can just write a song that is abstract art. ... A lot of my songs are very serious, I'm like dead serious about certain things and I feel that I'm writing about the world, through my own eyes. ... I have a love for simple basic song structure, although sometimes you'd never know it. ... Most of the songs I wrote at night. I would just wake in the middle of the night. That's when I found the space to write.
A rhyme doesn't make a song.
I keep reminding people that an editorial in rhyme is not a song. A good song makes you laugh, it makes you cry, it makes you think.
As far as I'm concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.
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