A Quote by Ray Stevens
People will remember a good comedy song a lot longer than they would some of the so-called straight love songs.
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An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.
There's a lot of different ways that a song would be a challenge to parody. There are a lot of songs that would ostensibly be a good candidate for parody, yet I can't think of a clever enough idea. Some songs are too repetitive for me to be able to fashion a humorous set of lyrics around. Some songs flat-out just don't work creatively for me.
I love lyrics. I've always been averse to the straight lyric idea. I guess a big part of it is, that songs that are literary always turn me off. Because they feel so abstract. Like a song. What is a song? We have to remember what the function of a concert and the function of playing a song for people are. It's all become really abstracted.
Some people are called to be a good sailor. Some people have a calling to be a good tiller of the land. Some people are called to be a good friend. You have to be the best at whatever you are called at. Whatever you do. You ought to be the best at it – highly skilled. It's about confidence, not arrogance. You have to know that you're the best whether anybody else tells you that or not. And that you'll be around, in one way or another, longer than anybody else. Somewhere inside of you, you have to believe that.
Here are some funny songs, there are some songs that we didn't even remember. I heard this song that Ringo is singing, I still don't know the title of it, but it is got the most amazing lyrics and it's a quite a good production. And quite a good tun
All you gotta do is think of the song in your head. And it doesn't matter whether you can play it or not, you can get somebody to play it. With songs I've written, there's a song called "The Statue", which I can't play. There are songs that I've written that I've actually just hummed on - there's a song on one of the albums they have there on the Internet called "My Love Was True" and it's almost operatic. I can't play it. But I can sing it.
We used to have a nanny who was obsessed with Take That. She was in love with Mark Owen and her room in our house would be plastered with Take That posters. Whenever I used to walk in the door she would be playing Take That songs to Harley, my daughter. That's when I fell in love with the song 'A Million Love Songs,' that song means a lot to me.
I'm no longer beholden to the sacredness of the recorded song as some kind of ultimate standard by which every performance of the song is measured. I like to diversify, that there are multiple versions of every song. And the songs incorporate a lot of improvisation, and an element of chance, and I think that's exciting. There's no one true formulation of a song, they have various manifestations depending on the space we're in. I like that.
I think on the first album, my aim was to write a good song and have a good melody, and I wanted lyrics that would connect with as many people as possible. On the second album, I took a lot more of a personal approach. I wasn't trying to make conventional, structured songs; I was really trying to get a lot of emotion and my own personal journey throughout it. I just focused more on being honest than getting the normal song structure down.
I was writing a lot of true love songs-true love almost gone wrong but saved at the last moment...Many of the best songs get written in a state of abject misery. I prefer to write fewer songs and have less cataclysmic events in my life...Some hit songs are really stupid, and who knows why they're hits. But a lot of hit songs are really good.
Well, Neighbours wanted to do a song on the show, and they asked me what songs I had. I told them I'd just written this song, called Born to Try, and I had just gone overseas and spoken to some people from Song about it.
It's funny because as a composer, you want to hear your songs live on. I think a lot of times people will create a song and it becomes stagnant or something that they're no longer interested in playing, and they leave it alone.
There are some good songs, but not the kind of song-writing that I remember, that I like. Springsteen still does it. Paul Simon, and there are also good writers, but that doesn't dominate the charts.
Maybe it's naïve, but I would love to believe that once you grow to love some aspect of a culture-its music, for instance -you can never again think of the people of that culture as less than yourself. I would like to believe that if I am deeply moved by a song originating from some place other than my own homeland, then I have in some way shared an experience with the people of that culture. I have been pleasantly contaminated. I can identify in some small way with it and its people.
I decided to make a CD that I would enjoy listening to. So I would finish a song and sit there, and I would say, 'What song, of all the songs I know, would I like to work on now? What song would make me happy?' And that's how I picked the songs.
All of the guys love to take serious topics and go for it; we're not writing a whole lot of love songs. With 'Sacrificed Sons,' we had some sensitivity there about how we'd present it. I remember there was a lot of discussion about the kind of words that would be used and how direct we wanted to be.
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