Top 1200 Gospel Songs Quotes & Sayings - Page 14

There are two keys to productive missionary work -- (1) family-to-family friendshipping (when a member family shares the gospel with a nonmember family) and (2) cooperation between members and the missionaries to reach people...Every member knows of nonmembers he or she can refer to the missionaries. Every father, mother, and youth in this church should share the gospel by giving a Book of Mormon, telling the account of the Prophet Joseph Smith, or inviting our acquaintances to a special meeting.

I don't write happy songs. Who does? I don't know anybody who writes happy songs, really.

I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them.

When I was writing some of songs for the record in Galapagos it was the feeling of being there I wanted to evoke more than anything. I remember hearing all the parts of the songs in my mind when I was walking around over the lava fields.

My aim in times to come is not to just work with Muslims but to actually sing songs for everyone and sing songs in which people all over the world can relate to.

My beloved brothers and sisters, to those of you who have been blessed by the gospel for many years because you were fortunate enough to find it early, to those of you who have come to the gospel by stages and phases later, and to those of you-members and not yet members-who may still be hanging back, to each of you, one and all, I testify of the renewing power of God’s love and the miracle of His grace. His concern is for the faith at which you finally arrive, not the hour of the day in which you got there.

For me to create an album of 12 songs, I've got to write about 80 songs. Half of those are totally weird and rubbish. But I get to some really good stuff after a while.

Blues songs, like folk songs, are a continuous stream, and catching the continuities and thefts is part of what puts meaning and complexity into it - also part of the fun of it all.

The drumming helps a lot when I'm producing songs or writing songs. My knowledge of drums helps more in that aspect, (although) I don't know, man; I'm not great at any of them.

I'm so hard on myself that when I'm in the studio, I'll write 10 songs and only use one. So those nine songs that are left over, I always think, 'Where could these go? Who could they be for?'

If you put all the songs together that I've written on band records, and put it up next to my solo record, there's definitely a different kind of feel than Billy's songs.

I'm blessed, because I enjoy every part of my life. I enjoy writing songs. I've been trying to write songs since I was five years old.

The songs that I've written about Africa, and AIDS and HIV and about the power of humanitarian love, those songs, I'm gonna sing them because I know that it's real.

It would get really alienating, to have my face be the face of a cause. So much just comes down to the songs. I just want to give us the opportunity to write great songs. Even our work in Haiti is limited by how good our songs are. We just need to get rid of as much of the bullshit as possible, so we can have a life, so we have something to write about.

I feel like you listen your whole life, so when you are in the studio, your references are all the songs and music that you know. It just depends on where the songs are going and what attracts you at the moment.

We are not a Zappa cover band. We only play Frank's songs that were recorded by the Mothers of Invention and I think a lot of those songs were complex.

They should invent some way to tape-record your dreams. I've written songs in my dreams that were Beatles songs. Then I'd wake up and they'd be gone.

Listening to songs is like eating and writing songs is like vomiting. You're putting a ton of stuff in, it combines in unpredictable ways, and comes back out in a big mess.

Times are such that poetry has been slowly drifting away from our songs and the language of conversation is used a lot more as lyrics. I believe such attempts create mundane songs, and they hardly stand the test of time.

I fell in love with music at the age of four, and I remember my grandmother being on the piano teaching me some church songs, some primary songs.

I don't like the word "happy." I wouldn't want to use it that context. I enjoy writing songs, it's a really good challenge, it tickles me. It's a wonderful way to engage with your surroundings, through poetry and songs.

I don't do filler songs. I don't get them. They don't make any sense to me. Why would I literally waste my time on a song that doesn't hold up to the same standards as the other songs on the album? I won't play it live.

One of the things that helped me to be confident is to be the kind of musician that I respect. I always liked musicians who wrote their own songs, and so I started writing my own songs.

Ministers often preach about the Gospel instead of preaching the Gospel. They often preach about sinners instead of preaching to them.

I hadn't played any music since freshman year of college, more than thirty years ago, so I had to relearn everything. I started writing songs. Some were dance and trance songs (I listen to them a lot while I'm writing), and some were love songs, because that after all is what music is about - dancing and trancing and love and love's setbacks.

I really try to be aware of the purpose of each song. There are songs on my record that I want people to have sex to, and songs people can listen to when they're pissed off.

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.

There are not so many songs written about love today like there were in the past. It's all changed, but that's why my songs still last as big favorites today.

I think a lot of people think that my parents' deaths is why I write such sad songs, but that's not true. Those songs may just be the woman I am.

My pump-up songs before I compete are not the usual. They're more girly songs. I love 'The Climb' by Miley Cyrus. It's about the journey and savoring every moment. I have 'The World's Greatest' by R. Kelly on my playlist, too.

All this role model bullshit; you don't have any extra responsibilities because you made some good songs! Your only responsibility is to make good songs.

I still don't know if I can write songs. I don't think anyone ever knows if they can write songs.

Usually we're all comfortable playing the songs, but during the song there might be one part where you're like „oh, this part's coming up, I have to really focus", a lot of songs have those moments in them.

A lot of the album is made of love songs I've written over the past three or four years that have lasted the test of time. It's probably the thing that connects the songs together other than the sound of my vocals.

The lyrics are different from Nick Cave songs and lyrics. His songs are very narrative.

There's no way anyone's going to understand my own personal experiences, where the songs came from, because they're mine. But I was very conscious of leaving loads of space in the songs so that people could interpret them with their own memories, feelings, and emotions. I love the process of taking stuff away so that people could finish the songs themselves. I was hoping it'd end up being as universal as possible, even though it comes from the most personal place.

I feel like when I'm on stage, when I'm writing songs, singing songs, I'm in the studio, I'm shooting videos, I kind of get to become this character, and I can make that whatever I want to make that.

I did like seven songs on Michael Jackson's Invincible album, but I might have done 60 songs to get to those seven. You don't know what's going to happen.

The songs of 'Border' and 'Refugee' were from my heart. Everything that is patriotic comes from the heart. If these songs come out time and again, that shows how much I love the country.

The songs are not necessarily autobiographical. A lot of songs are a combination of influences. It might be some part of my life, or something I've felt, or something somebody's told me. It all comes together.

Daniel's message of hope and help is still the good news of God's grace. We call it the gospel today. It still has the power to impact lives and transform cultures. Paul referred to the gospel as the "power of God" [Romans 1:16] and chose a word from which we derive our word "dynamite" to describe it. It's this power - not pickets, petitions, protests or politics - that's our only hope today.

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.

Yes, I heard my people singing!-in the glow of parlor coal-stove and on summer porches sweet with lilac air, from choir loft and Sunday morning pews-and my soul was filled with their harmonies. Then, too, I heard these songs in the very sermons of my father, for in the Negro's speech there is much of the phrasing and rhythms of folk-song. The great, soaring gospels we love are merely sermons that are sung; and as we thrill to such gifted gospel singers as Mahalia Jackson, we hear the rhythmic eloquence of our preachers, so many of whom, like my father, are masters of poetic speech.

Perhaps the greatest reason for missionary work is to give the world it's chance to hear and accept the gospel. The scriptures are replete with commands and promises and calls and rewards for teach the gospel. I use the word command deliberately for it seems to be an insistent directive from which we, singly and collectively, cannot escape...I wonder if we are doing all we can. Are we complacent in our approach to teaching all the world? We have been proselyting now 144 years. Are we prepared to lengthen our stride? To enlarge our vision?

We give ourselves to prayer. We preach a Gospel that saves to the uttermost, and witness to its power. We do not argue about worldliness; we witness. We do not discuss philosophy; we preach the Gospel. We do not speculate about the destiny of sinners; we pluck them as brands from the burning. We ask no man's patronage. We beg no man's money. We fear no man's frownLet no man join us who is afraid, and we want none but those who are saved, sanctified and aflame with the fire of the Holy Ghost.

Sin doesn't make us bad, sin makes us dead. The gospel doesn't make us better, the gospel makes us alive.

I first thought maybe I'd do a banjo presentation record, where I'd play a couple of songs and get a bunch of other players to do the rest. Then I realized I had enough of my own songs to do an album of them.

If you are speaking about my own songs, I would think so because we were talking about that particular era and I was singing one of my songs that I recorded 50 years ago.

I've had songs written during the Falklands war, and during the first Gulf war I got letters from soldiers saying they were listening to these songs, like Island of no return.

I was brought up in many different cultures, moving around all the time, and I find my identity in my songs. I project the identity I want to have throughout the songs that I write.

I wrote 'Turn Your Radio On' in 1937, and it was published in 1938. At this time radio was relatively new to the rural people, especially gospel music programs. I had become alert to the necessity of creating song titles, themes, and plots, and frequently people would call me and say, 'Turn your radio on, Albert, they're singing one of your songs on such-and-such a station.' It finally dawned on me to use their quote, 'Turn your radio on,' as a theme for a religious originated song, and this was the beginning of 'Turn Your Radio On' as we know it.

A good song can only do good, and I am proud of the songs I have sung. I hope to be able to continue singing these songs for all who want to listen, Republicans, Democrats, and independents.

I've been getting interested in reimagining folk songs and writing songs that should have existed but didn't, particularly around the Civil War when black voices were muted and only allowed particular channels.

The challenges change depending on the song. There are some songs where the lyrics are really a challenge and then there are other songs where the lyrics are there and the music is a challenge. And then you've got rock songs where the challenge is the tightness of the arrangement with the band. The music and the lyrics are there, but it's a challenge to get the arrangement correct. So I wouldn't be able to point to one thing. What the challenge is changes all of the time.

And different traditions stress different - so then there's that. I talked to an African American who says before she goes into an interracial church, she sits in her car and she listens to gospel music to get her fill, and she goes into an interracial church where they don't do gospel music, and she's ready to accept the other sorts of ways of worshipping. So there's that.

But when you're six records deep, every record has one or two songs that need to be in every set, so you're already looking at 12 songs that you know you're going to play.

When you're doing the traditional musicals, singing songs that are 40 and 50 years old, you realize there's a reason why those musicals are hits. These are amazing songs!

True doctrine, understood, changes attitudes and behavior. The study of the doctrines of the gospel will improve behavior quicker than a study of behavior will improve behavior. Preoccupation with unworthy behavior can lead to unworthy behavior. That is why we stress so forcefully the study of the doctrines of the gospel.

I've got a talent, and people enjoy my songs, people love my songs; why stop?

I never put myself in a box. I like to have various different types of songs and different genres and situational songs. No matter is going on, I have something for that time or era.