A Quote by Richard Ashcroft

I am so lucky that I have been part of and written songs that will always resonate no matter how old they get. — © Richard Ashcroft
I am so lucky that I have been part of and written songs that will always resonate no matter how old they get.
I think there's always been hope in my songs, no matter how they've first appeared. I think there's always been a shred of hope in everything I've written 'cause I like that balance.
I am out to sing songs that will prove to you that this is your world and that if it has hit you pretty hard and knocked you for a dozen loops, no matter what color, what size you are, how you are built, I am out to sing the songs that make you take pride in yourself and in your work. And the songs that I sing are made up for the most part by all sorts of folks just about like you.
No matter how dark it looks, no matter how long it's been, no matter how many people are trying to push you down; if you will stay in faith, God will always take you from Friday to Sunday. He will always complete what He started in you!
When I'm on stage, the songs that we've chosen to play from the back catalog are things that still resonate with me, and matter to me. And the songs that I couldn't be a part of, we don't play anymore.
I want to explore and do things with excellence. I want to write songs that resonate with me and will resonate with a live audience. I'm exploring fresh sounds.
I'm always thinking about songs and how I can sing a song that would resonate with my voice, my persona. I want it to be a pleasant experience that's not just about hearing my voice. I remember some singers whose voices were so pretty, it didn't matter what they sang - you loved it.
It's like being at the kids' table at Thanksgiving - you can put your elbows on it, you don't have to talk politics... no matter how old I get, there's always a part of me that's sitting there.
It won't work,' Mr. Bentley continued, sipping his tea. 'No matter how hard you try to be what you once were, you can only be what you are here and now. Time hypnotizes. When you're nine, you think you've always been nine years old and will always be. When you're thirty, it seems you've always been balanced there on that bright rim of middle life. And then when you turn seventy, you are always and forever seventy. You're in the present, you're trapped in a young now or an old now, but there is no other now to be seen.
If I go into a museum, it doesn't matter how often a work of art has been written about or thought about, I am going to discover something that is my own, which will be new. You always must be discovering, rediscovering. That's what the world of art means. It means constant mystery in the discovery, the rediscovery.
I never thought I had a career. I think Meryl Streep has a career. I have jobs that I am lucky to get... I'm one of those actresses who never turns down a part, no matter how small. I don't have the luxury of picking and choosing. I take everything.
When we arrive at the studio, we put the kettle on, have a cup of tea, say, 'How's the family? You still got that old car? Is that dog still alive?' and then we start jamming. That's how the songs get written.
How many chapters have been written about love verses - and how many more might be written! - might, would, could, should, or ought to be written! - I will venture to say, will be written!
No matter how hard it got, I've always been fortunate enough, thinking I'm actually lucky to be here.' I always took that mindset.
I don't write all my stuff. Everybody always thinks that. But in just about every album I've ever had has been about 50-50 songs I've written or co-written and other people's songs.
You don't always get lucky enough to have songs that can breathe and shift meaning. But every once in a while you open up a window and something passes through. It's really nice for me when I discover those songs in my catalogue. It's one of the reasons I try not to get too specific about what my songs mean.
I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.
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