Top 271 Lyrical Quotes & Sayings - Page 5

Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.

I just find that with music I've always felt a sort of comfort."Paranoid Android" was the saddest song I'd ever heard in my life, but it felt so good - it was like, "Oh, you understand where I'm coming from." I was at a weird age at the time, in a hardcore band that had no melody, no chance of finding any success, and I was just trying to figure out what the hell I was going to do with my life. And that came out and changed my life forever - on an artistic level, and a lyrical level, for sure.

You feel like you want something, but you don't actually know what that is. I remember waking up the other night and really craving something, but not knowing what it is. That feeling has been prominent throughout my whole life. I think I try and fill that thing with lots of different things. I can't really stay still. I can't really not be stimulated. It's kind of a search of constant stimulation through other people, substances and stuff. I think that's what our lyrical content is about.

It's a total big difference between a person that got lyrics and a person that can make hit singles. I'm a person that can make some hit singles. I'm not in no booth trying to be a lyrical genius. I'm preparing to make me some singles, and as I develop as a man, then they'll respect my emcee skills.

Memory, faith, and the natural world as both witness to the cycle of human life and healer to a questioning heart are at the core of this lovely and lyrical collection of poems. The weather changes, people come and go from cities and towns, babies are born, grow up and depart from their parents’ arms, but still, the countryside and its rituals sustain the people and creatures who know how to read the signs of the seasons. In these pages, Laura Grace Weldon shares those signs with us; her poems are the fruit of a wonderful harvest.

There's a unique component of music that is different from, the written pamphlet or a speech. There's something, when you get the right combination of rhythm, melody and the right lyrical couplet, that feels like truth in the reptilian brain. There's something hardwired in our D.N.A.. And when you get a large group of people singing together in solidarity, it's something that, in my experience, and I've played countless demonstrations and protests through the years, it's something that can really help a struggle.

THE STORIES WE TELL fearlessly explores the textures of the human heart, finding a path toward hope through a Savannah that is jagged with class issues, faith misused, and broken trust. Henry loses you in a landscape peopled with secret keepers, storytellers and liars, and proves that in the end, love is the only reliable compass. This is everything you expect from Patti Callahan Henry—lyrical writing, characters worth rooting for, a sure-footed belief in the power of goodness—plus a twisty plot that will keep the pages turning long into the night.

I was travelling with Bruce Sterling on our mutual Difference Engine tour and he became aware from the experience of travelling with me that I would distinguish among the shoes in a perfectly normal fashion, but form him it was a revelation. There's a very lyrical passage in Holy Fire about old wealthy European men and their shoes, and how beautiful their shoes are, and how there have never been shoes as beautiful. I think that that was probably as close as Bruce will ever get to homage in my direction. I made him aware of footwear fashion.

When I first started rapping, when I switched my style to more like a punch line style - this is when I'm like 13 years old - and I switched it to this real wordy - I was trying to rap like Canibus and like Eminem. It was real lyrical, real wordy and punch lines and, when I would come up with these punch lines and spit 'em in these cyphers, the minute the cyphers would be like, "Ohhh" and everybody would break away, it was a new feeling for me. It was like, "Oh, yo, you see what I just did?" I was addicted to that feeling, and I still love that feeling.

With Salvage the Bones, Jesmyn Ward has written the best sort of novel-a beautiful, important book that's both unflinching and tender, heartbreaking and triumphant. A lyrical and riveting testament to the strength of the human spirit, as well as the power of family and community. Ward's paragraphs are like songs, lifting us even as the authenticity of this world and these characters keeps the ground in clear sight. This is an extraordinary book by an extraordinary writer.

With James Reese’s vivid and chilling novel, readers will gain a whole new appreciation of two gothic landmarks, Dracula and Jack the Ripper. Not only does The Dracula Dossier grip us with its fast paced hunt for history’s most notorious killer, it also enchants us with sophisticated and lyrical recreations of its unique period and strong characters. A daring achievement.

I think 'Shade Room,' it's a different me. You know, I think it's more on the lyrical side, talking about my life and how I really feel. You know, all these things outside of football. And people really get to look at how I feel about things or how I look at certain things. It's not just a song, more so me just telling people how I feel.

Relate comic things in pompous fashion. Irregularity, in other words the unexpected, the surprising, the astonishing, are essential to and characteristic of beauty. Two fundamental literary qualities: supernaturalism and irony. The blend of the grotesque and the tragic are attractive to the mind, as is discord to blasé ears. Imagine a canvas for a lyrical, magical farce, for a pantomime, and translate it into a serious novel. Drown the whole thing in an abnormal, dreamy atmosphere, in the atmosphere of great days … the region of pure poetry.

She remembered the heroines of novels she had read, and the lyrical legion of those adulterous women began to sing in her memory with sisterly voices that enchanted her. Now she saw herself as one of those amoureuses whom she had so envied: she was becoming, in reality, one of that gallery of fictional figures; the long dream of her youth was coming true.

There is a string attached to Maia Sharp's voice. And when she sings, you find that the other end is attached to your gut. Her voice is lush and sensual and the emotions she articulates resonate with the small feelings we have that sometimes are hard to face..there is an edge to her songs, but also a softness...she is lyrical and conversational at the same time. Her CD was the only one in my machine for a month. Her work inspires me to dig deeper.

I glean a few times a week, and it's all about the subject line. I look for the lyrical, "Billowy Red Scarf Girl" or the funny, "Hipster Chick Who Passed Gas," the unintentionally funny, "Looking for the Hot Girl in Pink Dress," ones that immediately suggest images, "Furry Arms Under a Yellow Umbrella," or the plain odd, "Seeking Girl Who Bit Me Twice..." I don't think I've ever abandoned one... the images usually arrive fully formed in my head as soon as I read the message, and I decide whether to draw it or not.

M. J. Putney has created true magic with this book, the kind that comes when you curl up in a comfortable armchair and let the story take your imagination away. Come visit an enchanted eighteenth-century England and meet two desperate lovers caught in the web of a sinister lord with great magical power. Romantic and lyrical, this tale will fill your reading time with pleasure. I loved it.

I have a structured songwriting process. I start with the music and try to come up with musical ideas, then the melody, then the hook, and the lyrics come last. Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.

I never try and force-feed any song idea or lyrical message. It's really what's on my mind and what comes out of me. And a lot of these lyrics are metaphors for specific life situations that I've been through, and in most cases, the struggles. Something about human beings wearing sadness heavily on their sleeve inspires me to make something uplifting about the situation.

My Family and Other Saints echoes Gerald Durrell's classic memoir, My Family and Other Animals, not only in its title, but in its wonderful humor and lyrical prose. Like Durrell, Kirin Narayan takes the reader to a fascinating world far from our own, and brings to life its myriad sights, sounds and smells, while revealing the profound cultural beliefs of its people. India is just the most complex character among a cast of characters-family members, gurus, hippies, and neighbors-all of whom I now count as old friends.

Climate helps to shape the character of peoples, certainly no people more than the English. The uncertainty of their climate has helped to make the English, a long-suffering, phlegmatic, patient people rather insensitive to surprise, stoical against storms,. slightly incredulous at every appearance of the sun, touched by the lyrical gratitude of someone who expects nothing and suddenly receives more than he dreamed.

The reason the middle section switches to third person is, well, this is middle age. This is the part in her life where she loses track of something that was driving her and has to figure out what's going to drive the next part of her mission, this mission to be an author. I had to push back away from her for a while before we could come up to that really lyrical close third in the final section.

Lil Wayne, I ain't mad at him man, he did his thing, he stepped up his lyrical game, he the most improved rapper out of anybody. I've seen him from childhood status to what he's doing right now. He stepped up his rap game, so he deserves the success he had. And no one else was even doing near what he was doing, so I applaud him too.

Munch writes poetry with color. He has taught himself to see the full potential of color in art His use of color is above all lyrical. He feels color and he reveals his feelings through colors; he does not see them in isolation. He does not just see yellow, red and blue and violet; he sees sorrow and screaming and melancholy and decay.

With impeccable timing and a fine instinct for the telling detail, Francesca Abbate evokes the plenitudes and the deprivations of human habitation, the nurturing richness of landscape, and the soul-wound wrought by casual defacement. Abbate has a superb capacity for distillation and a mastery of poetic line, and her diction is remarkably flexible, accommodating both the demotic and the lyrical. Her poems are as consistent in quality as they are varied in pacing, surface, and tone. A fine first book.

No one writes a story like Lydia Davis. In the years since she began publishing her lyrical, extremely short fiction, she has quietly become one of the most impactful influences on American writers, even if they don't know it. That's largely because she makes economy seem so easy. You could read several of her stories into a friend's voicemail box before you were cut off (and you should). You could fit one of her stories in this column. Some you could write on your palm.

Anne Pitkin's poems have such lyrical sweep, such a sensitive eye for the natural world as it touches the human, that reading Winter Arguments is like seeing a landscape or, better, a richly realized painting of a landscape dotted with figures. But that would leave out their music, which would be a loss. This is a wise and graceful book by a well-traveled woman who knows how to confront deep feeling and frame it to make it all the more intense.

There's a great freedom of forms and intonations in Luigi Fontanella's poetry. He doesn't take a strong formal stand; his poetry entertains moments of nearly proselike colloquial narrative along with moments of powerful lyrical tension. There is a movement of extremes, from powerful tonality to near atonality, and I like this a great deal; it's a stance that very effectively catches the spirit that makes work in poetry possible nowadays.

Probably "Mrs. Potato Head" or "Training Wheels". "Mrs. Potato Head" because it was the hardest song to write and it took me a while to finish it and feel good about the lyrical content. But I've had that idea in my head for so long, especially the visuals - pulling apart a Mrs. Potato face and how that doubled as a meaning for plastic surgery. "Training Wheels" because it's the only love song on the album.

I listen to a lot of different kinds of music and rather than just doing one thing when I make an album, the challenge to myself is to write all these diverse tracks, but to make them work. It's like a jigsaw because if you've got a lyrical track going into a hard rock track... it's got to work. You've got to write things that will work together.

Coming into this, making music, I knew that was something that was going to be held over my head. Okay we get it, you're openly gay, but do you know how to rap? Can you really rap and deliver? And I feel like I have that pressure put on me that other artists don't. A lot of people don't have to focus on being so lyrical and actually putting on shows. Before anyone was gonna tell me I was bad, I was gonna prove that I was good.