A Quote by Robert James Waller
The reality is not exactly what the song started out to be, but it's not a bad song.
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But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
Maybe 80 percent of what we conceive to be a song idea or the meaning of a song is not exactly what the artist meant most of the time. It's not bad - people can take what they want from it.
I would say "These Days." It was the title song to an album I put out, and it's really this song that you'll hear throughout the episodes and the season in the show. I write all my music, I'm an independent artist so we do it all in-house and that song embodies exactly what the title says.
I've always wanted to title an album 'Illinois.' I wrote the song, which was a very special song to me. The song isn't exactly about being from there, even though I am.
I got the idea for the song 'Bad Company' when I saw a poster for the Jeff Bridges movie, and it reminded of an old Victorian picture that I'd once seen, and it said, 'Beware of bad company.' So I sat down at the piano and started to write the song.
The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.
There have been a couple of times I've started the song in the wrong key. We stop the song, we all laugh together and we start the song again, and we go for it.
A Song of the good green grass! A song no more of the city streets; A song of farms - a song of the soil of fields. A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork; A song tasting of new wheat, and of fresh-husk'd maize.
I don't want to just go out and do song to song to song. I like to create things before the song actually kicks in, little things you do to excite the crowd.
But the reality is when you write a song, you should be able to strip away all the instruments and just have a song right there with an acoustic guitar and a voice, and the song should be good.
The reality is my career started with a song that wasn't finished and a video I didn't know was going on the Internet. It happened so out of my control.
I started making hip-hop music when I was 11, and pretty much since then I've just been honing that craft, the craft of arranging a song and producing a beat. It's a task-heavy role, but at this point I really enjoy it and it allows me to convey exactly what I'm trying to get across in a song.
Like the Birth Of Venus, the song [Yello "oh, Yeah"] denotes the birth of the bro. The song just reminds me of bros looking out over lowered Ray-Bans. It birthed a negative sexual revolution. I was going to a lot of bondage clubs at the time and they did play this song. The song I associate more is that horrible Enigma song with the Gregorian chant. There's something good buried in that song and I might not hate it as much if I hadn't been a sex worker.
I don't have to say I'm going to make a song. A song is always there. I just have to open my mouth and a song comes out.
I can't try to write a song - songs come out of me. I have to play the guitar and if I jam a song, boom! That's a song.
When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.
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