Top 1200 Gospel Songs Quotes & Sayings - Page 16

Most of the time, the songs have jokes in them, little sarcastic things, or purposely kitsch or something. So that's going along with a story, like I do in life, just talking to myself and making fun of stuff and laughing at stuff that's serious. And sometimes it's a good idea to put the laughing into the songs. Sometimes it's not. Sometimes it's all right just to be serious. But most of the songs have some kind of joke in them.

Most of the songs came from Europe and Africa and now they were coming back to us. Many of [Bob] Dylan's best songs came from Scotland, Ireland or England. It was a sort of cultural exchange.

Me and Thugger could make nine songs in a day and then choose which songs we like the most and think is gonna do something. With other people, it's like, we pick one song, and we hope it's the one.

Christ did not die to forgive sinners who go on treasuring anything above seeing and savoring God. And people who would be happy in heaven if Christ were not there, will not be there. The gospel is not a way to get people to heaven; it is a way to get people to God. It's a way of overcoming every obstacle to everlasting joy in God. If we don't want God above all things, we have not been converted by the gospel.

Oh sure, the songs have all totally evolved. I mean, when you're playing the same songs night in night out, they take on a life of their own. I can't even remember what I wrote some of them about now!

I need all kinds of songs - fast ones, slow ones, minor key, ballads, rumbas - and they all get juggled around during a live show. I've been trying for years to come up with songs that have the feeling of a Shakespearean drama, so I'm always starting with that.

What I'm most deeply grateful for is that God's love for us, approval of us, and commitment to us does not ride on our resolve but on Jesus' resolve for us. The gospel is the good news announcing Jesus' infallible devotion to us despite our inconsistent devotion to Him. The gospel is not a command to hang on to Jesus; it's a promise that no matter how weak and unsuccessful our faith and efforts may be, God is always holding on to us.

We kind of just got more mature and more realistic with what we're doing. We kinda said, "We quit our jobs and we quit college to do this, and we're going to be playing these songs every day just about, y'know, on a stage... so let's write songs that we're never gonna get sick of playing." Songs that aren't just gonna follow a trend of what's going on right now, y'know?

I wouldn't just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.

I started off playing my own songs, just because I saw it as a means to an end almost of, 'Right, if you want to play gigs, you have to write your own songs.' I mean, they were absolutely terrible.

I've written so many songs that are hopeful - songs that are, like, about an old man that gives all his possessions away because he wants to help people. I wrote 'Pumped Up Kicks' just to tell a different type of story.

There are great songs out there, and if I love them, and I know them, I'm going to sing them just because that's what songs are for.

There's this Ryan Gosling quote that I steal all the time - I watched an interview with him in Cannes - and he said picking roles is like listening to songs on the radio: There can be a lot of really great songs in a row, but then one comes on that just makes you want to dance.

I could have done a hundred songs, really. It was hard to narrow them down, because I tried to pick songs for the most part that actually did have some effect on me or influenced me in the past.

I didn't even know the industry of songwriting existed. I thought everybody sang songs and they were only singing the songs that they wrote. So after I found out about songwriting in college, I was like, "Okay, I want to do that."

When I started out, I wrote the songs, recorded the songs, mastered, mixed, did the artwork, made the packaging and did the distribution, all myself. Now I understand what everyone's jobs are, who is doing them right, and who isn't.

All the new songs have been written since the re-issue of Diamond Day. With my first royalties I got a Mac and a little mixer and a keyboard, figured out the basics of a music program, and gradually started to write and record the songs and the arrangements.

I just write songs from the heart, and you never know who'll like the songs. I try to make sure that I don't allow anybody's expectation to weigh on me. I have my own expectation of life. I believe in letting people be free.

Unless we believe the gospel, we will be driven in all we do-whether obeying or disobeying-by pride ('self-love') or fear ('of damnation'). Apart from 'grateful remembering' of the gospel, all good works are done then for sinful motives. Mere moral effort may restrain the heart, but does not truly change the heart. Moral effort merely 'jury rigs' the evil of the heart to produce moral behavior out of self-interest. It is only a matter of time before such a thin tissue collapses.

Every song youre trying to find something that going to connect in different ways but for me the songs that Im really drawn to are inspirational, songs that lift you and that everybody can relate to no matter where youre from.

I definitely still have ... angst but I also wrote some songs that say it's okay to love, now. I'm happy in my life, and it's a bit easier to write happy songs when you are actually happy.

Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.

Naive optimism and pervasive pessimism are both to be avoided, therefore. It's not an easy balance to maintain, to be asked to work away in the Ninevehs of our lives without being so conscious of the coming cataclysm that we are not serious citizens of our communities and nations. By living and sharing the gospel of Jesus Christ, we are doing the most relevant thing we can do by way of helping. (There are civic and other chores to be done, of course.) Day in and day out, the gospel is the one thing that is most relevant, and we are to be of good cheer.

Irony is the recourse of the weak-minded wimp, I think. I hate bands that deliver their songs with knowing smiles on their faces, so that if those songs fall flat they can say 'Ah well, we never really meant it anyway.' It's so dishonest.

I'm not as religious as some people about "the album." To be honest, that was a product of a format. You had vinyl, and you could fit five songs on each side, and that's 45 minutes. You had A-side songs and B-side songs; I always loved the first song on side B. And there's nothing wrong with that. Prog albums of the 70s adapted to that format very much. But not all musicians want to create 45 minutes of music that has to be listened to in chronological order.

I clearly remember writing songs [when I was young] and the power that it gave me of feeling like somebody. My whole life changed when I wrote those songs, even before anyone ever heard them. It wasn't a commercial thing.

The gospel of cheerfulness, I had almost said the gospel of amusement, is preached by people who lack experience to people who lack vitality. There is a vague impression that the world would be a good world if it were only happy, that it would be happy if it were amused, and that it would be amused if plenty of artificial recreation - that recreation for which we are now told every community stands responsible - were provided for its entertainment.

You don't want to be a one-trick pony. On a lot of Smiths songs, I used a pick or a plectrum, and for some of the slow songs, I used my thumbs and my fingers. That's why I love the bass - it's adaptable, and you can express yourself so well with it.

Eventually I had so many little melodies and ideas that, you know, that they were all songs to me and I threw in a few cover songs like Enya's "Watermark," Bach, and my dad's song, "Song for the Whales."

[The 4 spiritual laws and sinner's prayer] is not the gospel of Jesus Christ, and that methodology and envangelism has done more to hurt this country than every heresy introduced by every cult combined. Millions of people in this country whose lives have never been changed believed themselves born again because we have so reduced the gospel of Jesus Christ that it means now nothing more than simple decision that will only take five minutes of your time.

It will affect me in ways I can't even begin to get my mind around. This day is a dark crater. There is no room for songs. The songs are wrong. Every song is wrong. And I don't know what to do without music.

I actually had a week where I literally wrote four songs and all of them are on my album. But sometimes you'll go a week where you'll write songs and they never see the light of day. So that process takes a long time.

She sings the songs without words Songs that sailors, and blind men, and beggars have heard She knows more of love than the poets can say And her eyes are for something that won't go away.

We still play Foreigner songs. I play the songs that I was involved in writing.

I just feel like the songs that come out are the songs that come.

I write songs by sitting around in bars, so drinking songs are a little obvious. It's surprising that I don't write entirely drinking songs, since I am, in fact, drinking while writing the song. Drinking and love are the two principal sources of pleasure outside of music. There's only so many sources of pleasure, really. That's about it. Well, there are other arts as well. But none of them are as pleasurable as music, on a physical level.

When I think about putting together an album, the process of listening to hundreds of songs each time and picking out the best 10 or so that will go on the record, it really sinks in as to just how many songs I've listened to all these years.

When that Twitter account came out, @HopperDancingTo, and they put me to all these different songs, I thought that's pretty much one of the funniest things I've ever seen. I watched that for a couple hours straight, him dancing to George Michael and all these stupid songs.

I looked through our catalog year by year, and I saw that there were pockets of time when we wrote some terrific songs. Then all of a sudden, we'd go for another two or three months and there weren't great songs.

Sometimes I need to reject the music proposed for my songs because the musicians misunderstand that the Fanny Crosby who once wrote for the people in the saloons has merely changed the lyrics. Oh my no. The church must never sing it's songs to the melodies of the world.

It'll be basically a live album, but it will also include songs, Judas Priest songs, the audience have never heard before, because we felt we wanted to give the kids something else, something they haven't already bought.

Everybody's looking for some kind of authenticity in music. Or some kind of truism, you know, "This is true!" And the thing about gospel music is, these people are singing about their faith. So it always comes across with, as authentic, you know? Gospel choirs put across this amazing sound but they're singing from the heart because they truly believe it. And I kind of have that faith, but I just have that faith in music.

You can only write so many pop songs before they all sound the same. I got to a point where something overtly melodic and straightforward sounded sort of cheesy to me. Pop songs seemed too manufactured.

The people playing on these songs are from Wisconsin and Illinois and Chicago and St. Louis and there’s a certain attitude that comes across in the songs and the way that they’re performed. I’m born and raised in the Midwest, and my family’s been here for generations. This is where I’m from and how I think, and that’s reflected in the music I make.

As pop songs, the early stuff like Electricity' and Enola Gay' were such inspirations to Gwen and I, especially melodically. They inspired us to try and do our own John Hughes prom-scene movie moment kind of songs.

Even on tour, where I perform songs from 'City Of Black And White,' I still do songs from 'Nothing Left To Lose.' I never turned my back on that material. On some albums, you change - that's all. The trick is to follow your heart and do what feels right.

All I can hope for is songs that feel special and songs that make people feel.

Although I was writing songs when I was younger, I didn't feel I had much of a clue as to what I was doing or how I was doing it. There are a few songs from my past where I thought, 'Well, that's pretty decent,' but I didn't have a discipline. I suppose I'm kind of a late bloomer.

You have those songs that are very special to you that you don't want to get ruined by production. Something like 'Start Again' shouldn't be touched. It's a classic-sounding song on a piano and violins and harmonies, and I think those songs are perfect as they are.

Thanks to 'Super Dancer - Chapter 4,' that I was reminded how popular was our jodi, and the love for our songs. It was exhilarating to experience the fandom in person and to remember all those old songs. It was a great feeling.

I don't dream songs. I'm more apt to write dreams down and then to be able to interpret them into a song. I also tend to get up and write prose in the morning from which will come songs.

I'm involved in a lot of different things, like producing, starting a label and writing songs. But still my biggest release, and the easiest and most fun thing for me to do in my life, is to be in New Found Glory, go on stage and play these songs.

Every one of those old songs like "What's My Age Again?" and "All the Small Things" is like a tattoo or a scrapbook or an old photograph. There are just songs that define certain moments in your life. Everyone has a song that got them through a bad breakup or they put on and it made them feel like they wanted to go out and kick the world's ass with their friends on a weekend. Those songs still feel like that to me.

If it were bad songs, yeah, I'd speak up, but they're not bad songs.

I've been writing songs all along, and since moving to Nashville in the late-'80s, I'd begun writing something like 15-20 songs a year, instead of the typical three or four in previous years.

When you find a song that you love, you just have to do it - why would I try to match it? When I wrote more of the songs in the '90s - 'Nick of Time' and other songs I was surprised I came up with - it was because nobody else was saying what I wanted to say.

I find great beauty in songs with a creative interpretation, but most people generally don't get that, and go for the simple songs, but I prefer something a bit more complicated, which is more meaningful to the creator.

When your hair is rising, that's when you know it's a good song - that's happened to me with some artists and some songs, John Lennon songs or when Nina Simone sings. It's great to make those moments yourself.

I like the songs to appear very simple and to flow by without any kind of hiccup, but there has to be this impression of other currents underneath. Like if the songs aren't, on some level, multidimensional, we lose interest in them.

It's a pretty crazy thing in which I tried to make songs, real songs, not the quick stuff like on a tape. A dose of Kendrick Lamar, a dose of J. Cole... because it's got to be an album that goes [in the] club.