A Quote by Terence Trent D'Arby
There's a part of me which feels content to leave songs in a vault not to be heard until after my death.
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Humanity is not a church made of stone, in which vault after vault lies open.
I do have commitment phobia, which I think is underlied by death anxiety. I feel that if you are in a relationship, there is a real genuine possibility of plateauing, and there is a possibility for a creative, emotional and spiritual death because of it. Only part of me feels this way, but it's enough to create an anxiety which makes me think twice before committing.
You forget about it, after awhile. You forget that you even have it on. It becomes part of you. You get used to it, even the teeth and the contacts, which bothered the hell out of me. It ends up being something that is part of the role, and part of the thing that you're doing. After awhile, it just feels pretty damn awesome.
But say That death be not one stroke, as I supposed, Bereaving sense, but endless misery From this day onward, which I feel begun Both in me, and without me, and so last To perpetuity; ay me, that fear Comes thund'ring back with dreadful revolution On my defenceless head; both Death and I Am found eternal, and incorporate both, Nor I on my part single, in me all Paradise Lost Posterity stands cursed: fair patrimony That I must leave ye, sons; O were I able To waste it all myself, and leave ye none!
The public has heard the stereotypical love songs a million times, and they've heard the stereotypical life-or-death songs millions of times. It's good to mix it up a little bit.
He asked my girlfriend if we could come over and sing some of the songs that we had written, which we did. After he heard the songs, he said that he knew someone in the record business by the name of Bob Shad.
And I'll tell you, I've seen the lightning flash. I've heard the thunder roll. I felt sin-breakers dashing, trying to conquer my soul. But I heard the voice of Jesus saying still to fight on. He promised never to leave me, never to leave me alone. No, never alone. He promised never to leave me, never to leave me alone.
I'm really terrible at math, so I won't even attempt to do ratios and percentages, but all I know is that there's a lot of new songs that no-one has heard yet, and that there's a lot of old songs that some very, very super hardcore fans have heard for sure - there are people that have been coming and seeing me play in bars in like 2002, and there are songs that those people heard.
Until late in life, I was never quite good enough for my father, and I suppose that is part of what drives me even now, well after his death in 1992.
It can get a little costly if you try and leave it until then to write songs. But you're writing all the time. You're collecting songs. I've had songs that have been collected over a two-year period for my next record.
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.
I was never particularly a part of the following of tango; I just liked it... most of all, I recognized that the urban content and the approach seemed very familiar and very connected to the songs that I was doing, the kind of songs that I wanted to write - the songs about the street.
The beauty of Billie Holiday is that she gave every singer after her the license to interpret and perform music in ways that were unique to each of us. Her uniqueness was very much a part of the way she sang the songs, the story she wanted to tell through the songs. I didn't really have a full understanding of Billie until I left home -- until I'd lived a little, shall we say. At different seasons of my life, when I'd sing her songs or listen to her albums, I'd hear things I didn't hear before. Wherever you are in life, you'll hear different things in her songs.
Then he exploded. "No!" he said. That familiar injunction. I'd heard it so many times. "No. I cannot take this steel. It would not be correct." He opened his knife drawer. "It goes here," he said, "until you return."(That's how you leave: by never saying good-bye.)And I learned that: to return. I came back the following year and the year after that. I hope to return every year (after all, I may never have the chance to learn so much), until I have no one to return to. (301)
I chose the songs for the music more than for the lyrical content and it wasn't until the end of the recording and when we were trying to decide running order that I realized how sad a lot of the songs could sound.
The trace I leave to me means at once my death, to come or already come, and the hope that it will survive me. It is not an ambition of immortality; it is fundamental. I leave here a bit of paper, I leave, I die; it is impossible to exit this structure; it is the unchanging form of my life. Every time I let something go, I live my death in writing.
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