Top 1200 Good Lyric Quotes & Sayings - Page 4

It sounds corny, but it's absolutely true: A song chooses me. I don't go looking for a certain kind of lyric. It kind of develops its own little arc and I'll just see what happens.

It helped my lyric writing so much studying poetry. I thought I knew what poetry was before I immersed myself in it. Poetry is meditative. It's reflective.

'The Ways of a Woman in Love' is one of my very favorite early Johnny Cash songs. I like the way the lyric talks about the character walking by the girl's house and wishing he was the one in her arms.

Poets should be law-givers; that is, the boldest lyric inspiration should not chide and insult, but should announce and lead the civil code, and the day's work.

Jean Prouvaire was timid only in repose. Once excited, he burst forth, a sort of mirth accentuated his enthusiasm, and he was at once both laughing and lyric.

Clearly, the inhabitants of stable democracies find it hard to appreciate what they have: 'You don't know what you've got 'til it's gone' isn't just a song lyric; it's an expression of something fundamental about the human brain.

Usually now a song starts just in my head with a melody or a lyric idea coming first.Then typically I'll go to a guitar, unless it's a instrumental then I'll usually build it on a keyboard instrument.

Sometimes, the best songs are the ones you write without any pen and paper or audio recording device or guitar in your hands. Because there's nothing between you and the melody; it's just a great lyric.

The video forum for me has been a source of great consternation because once you start projecting a look to a song, it robs the listener of their ability to adopt that song and make the lyric their own.

You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses.

If you rank me with the lyric poets, my exalted head shall strike the stars. [Lat., Quod si me lyricis vatibus inseris, Sublimi feriam sidera vertice.]

In those days, it didn't take much imagination to come up with something that required great lyric development skills. You just thought of an experience that you might have gone through, and write it down.

As far as I remember, there was no actual lyric written to that.At the very beginning of "Fiddler on the Roof," there's a violin solo, an unaccompanied violin solo.

A lyric, it is true, is the expression of personal emotion, but then so is all poetry, and to suppose that there are several kinds of poetry, differing from each other in essence, is to be deceived by wholly artificial divisions which have no real being.

The song could start with a riff that I base the song around. Or a chord progression or a melody I have, I just write a story about it. Lyric-wise, it's cool to have someone else's input too.

I'm not trying to dog any artist or genre, but to me, there is a lot of diversity missing from the radio. I miss turning the radio on and getting punched in the soul with a great lyric.

I just want to write a great lyric and write a great song, and everything else is icing on the cake.

I don't shape trends, I'd say. I merely reflect them. I think the emphasis is on 'them.' I like variety in poetry. I love how it comes in so many guises. As rock lyric, as rap, as note on a fridge.

Amos Oz is one of the finest novelists of this entire period. MY MICHAEL is a beautiful work of great depth and in some indescribable way lingers in the mind as a lyric song to his country's people as much as a moving love story.

George had performed musical alchemy, distilling the essence of Christmas into music. Adding a lyric which told the tale of betrayed love was a masterstroke and, as he did so often, he touched hearts.

I tend to employ braided narrative threads in the lyric, so often echoes (of phrases or images) will occur and will hit my ear so I can shape different resonances and shifts in tone.

Every night we all felt grateful to be there, stunned at the amount of people that are there, and stunned at their reactions. They go crazy; they know every lyric from eight years of age to eighty. It's unbelievable.

Rock and roll doesn't necessarily mean a band. It doesn't mean a singer, and it doesn't mean a lyric, really. It's that question of trying to be immortal.

The way I teach people to sing... I have them talk the lyric out until it sounds like something they really believe, like an actor with a monologue.

Lyric writing is an interesting process in Sonic Youth. There's three people writing now, and we've all had a lot of interest and involvement with expression through words.

'Check Yes Or No' is a song that I reference in ''90s Country.' George Strait had a very crafty lyric: it tells a story then comes back around. Never gets old.

It is no longer possible for lyric poetry to express the immensity of our experience. Life has grown too cumbersome, too complicated. We have acquired values which are best expressed in prose.

If some event happens and it seems really important to me and moving to me, I'll write it down in my lyric book knowing that it will come out in a song.

One thing a lyricist must learn is not to fall in love with his own lines. Once you learn that, you can walk away from the lyric and look at it with a reasonable degree of objectivity.

I'd gotten to a point where I would write a lyric and then delete it because I was worried about how it sounded. Pretty much, I was a dreadful person and It was just a way of dealing with feeling kind of guilty about that.

As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.

I think if you are writing an instrumental you are dealing with more of an aesthetic in a sense but a lyric is more of a putting yourself on the line and a much more expensive exercise.

I sit down and draw from my lyric book. I sit down and start looking through it and see if there is anything that strikes me that I've written.

The first set of lyrics for the first songs I ever wrote, which are the ones on 'Pretty Hate Machine,' came from private journal entries that I realized I was writing in lyric form.

Fenway Park, in Boston, is a lyric little bandbox of a ballpark. Everything is painted green and seems in curiously sharp focus, like the inside of an old-fashioned peeping-type Easter egg.

After using four different languages on an album, it's tough to decide which one I'm gonna actually learn to speak. I always study the lyric, make sure I know what I'm singing, and try to get the pronunciation as perfect as possible.

I was raised in Catholic school where we were given a lot of heavy literature and a dense, weighty lyric wasn't strange to me. I didn't need everything to be light and simple for me to see the beauty in it.

I can go write an absolutely saccharine pop record with a really catchy lyric for another artist that could become a hit without meaning anything to me, but that's more the science laboratory, that's the other thing.

The kind of poetry I write, lyric poetry, I think is really concerned with intimacy, with mystery. That needn't be religious mystery, there are mysteries to do with everyday life.

All classes of people under social pressure are permeated with a common experience; they are emotionally welded as others cannot be. With them, even ordinary living has epic depth and lyric intensity, and this, their material handicap, is their spiritual advantage.

Sometimes I hold back from tweeting certain things. Sometimes you're emotional, and you want to tweet a lyric or whatever it may be. I can't do that because if I do, it's, 'Oh, this means this and that she must be going through this...' It's like, what the hell?

Songs come to me and I hear them. At least in part, they are very complete; I hear the whole chorus, including the drum pattern, the base, the countermelody, the basic harmonic structure and the main thrust of the lyric.

He doesn't make it so complicated but just really allows the lyric to come through even though there's a lot of production going on. I think that's the key and that's the magic, it's making sure that people could still connect with the lyrics while they're on the dance floor.

The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.

Lyric writing is an interesting process in Sonic Youth. There's three people writing now, and we've all had a lot of interest and involvement with expression through words

'Pain' is more indicative of what I like to do. I'm lyric-conscious. I like to tell stories, give advice. Instead of writing a 'Dear Abby' column, I do it on records.

I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.

My introduction of Whitney was that if there's going to be one performer for the next generation who combined the beauty and lyric phrasing of a Lena Horne with those Gospel fiery roots of an Aretha Franklin, it would be Whitney Houston.

You know when you hear a lyric and you can tell that the person means it? That is really hard; that is so much harder than it seems: to find the topics that you're passionate about and have it come across as like, 'Yeah, that guy needed to sing that song.'

He passes from lyric to epic poetry in order to speak about the world and the torment in the world through man, rationally and emotionally. The poet then becomes a danger.

I've always given attention to detail. I've always given my heart and soul into a lyric, into a line.

When you're listening to club music, there's no reward. The reward isn't, 'Oh, here's the chorus, here's the lyric that makes sense.' You have to enjoy what it is. You have to enjoy that there's no conclusion.

As the writer of the lyric of the song 'God's Country,' I am outraged by the suggestion that somehow I am connected with, believe in, or am sympathetic with Communist or totalitarian philosophy.

I get asked all the time, "What is a George Strait song?" I know it when I hear it. I don't seek a specific tempo or lyric or melody. It just has to make sense. Maybe it is natural because I was given the gift to sing.

I started doing shows in places that I couldn't pronounce, didn't know existed, and I've seen people that didn't speak English or Spanish rapping to every lyric and singing to every hook. I said, "This is the type of music that I want to do."

I grew up listening to a lot of Simon & Garfunkel and Peter, Paul and Mary. I know that sounds dorky, but I always responded strongly to that kind of lyric-driven folk music.

I'm very particular about everything. That goes along with the artwork, and how it's laid out, and every lyric. So it's pretty much all in my hands, which is crazy to be touring and doing that at the same time.

The Ploughmen is part inspired fever-dream, part adventure story, a lyric parable of not just goodand evil but of the vast and beautiful and often lonely country in-between. Kim Zupan is a wonder.

Music is creation. In reggae the lyric, the music itself, arrangement, that vibe, such melody - everything within the music moves the people, understand?

To sing the ballad with a knowingness about what you are talking about. If it's somebody else's lyric, and the message is a little unusual for you, it requires that you learn that new message.