Quotes about lyrics
page 3

“Roger: It depends.. A song is melody and lyrics and the music, you know? For our band, Vinnie the drummer writes like 95% of the lyrics so he's the main songwriter if you want to look at it that way. But he doesn't write any chords or melodies or any of that kind of stuff. So, it's kind of hard to split up or dissect a song that way, you know? On this record.. it's pretty fair, you know, pretty even between myself and Chris.. Actually JR and I. JR's the first song writer outside of Chris, Vinnie or I to like actually sit down and reword a song for the record. So he's becoming like a bigger part of that sort of thing. I don't know. It just depends. I definitely write a bunch of them!”

Roger Manganelli (1973) American musician

laughs

Music, Way, Parting, Dependency

“So, if you played a C major chord to pretty much any person on the planet, they'd say that it sounds "harmonious" (or pleasing, or happy, etc, etc). But now when you want to put chords and melodies in an ordering and make a larger piece called a "song", then that is a much more difficult process, and gets very subjective. At that point, it's not just the chords, it's the lyrics, rhythms, instrumentation, tempo, intensity, any number of other things that goes into a song… so many variables that it's almost impossible to predict how a song will affect a given person.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

Happiness, Personality

“I believe that the luxuriance of Shakespeare's dramatic instinct largely dominates that outburst of lyric melody which gives the Sonnets their life.”

Sidney Lee (1859–1926) English biographer and critic

"The Impersonal Aspect of Shakespeare's Art" (English Association Leaflet, 13, July 1909)

Life

“When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art.”

Kurt Schwitters (1887–1948) German artist

Source: 1940s, I is Style (2000), p. 100 : in 'My art and My live' (1940 – 1946), Kurt Schwitters.

Art, Boy, Time, Painting

“At present we are living through an unusual period in time a new cosmic creation has become reality in the world, a creativity within ourselves which pervades our consciousness.... in this way the artist became the foundation on which progress in the reconstruction of life could advance beyond the frontiers of the all-seeing eye and the all-hearing ear. Thus a picture was no longer an anecdote nor a lyric poem nor a lecture on morality nor a feast for the eye but a sign and symbol of this new conception of the world which comes from within us.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Suprematism' in World Reconstruction (1920)

Life, World, Way, Reality

“I think I am easy to make fun of. I try not to pay too much attention. You can't let critics dictate what you do… The thing that fascinates me, is the emotion in music, the way it can make me cry or laugh or be angry. I'm not trying to be hip or cool, and I'm not scared to put everything I have into songs. Passion is the greatest thing that music can evoke. We live in a society where I think people often find it hard to express themselves, but sometimes a song can do that for you. It might not be groundbreaking, but there is something about the simplicity of presenting songs where it's all about the lyric and the melody. People don't need to get through a whole lot of production to get to the root of the song. It's just music doing what music does best… A lot of things in the mainstream are repetitive and soulless and have been churned out without any real conviction. It is really unfair to call Coldplay insufferable, when they obviously care about what they do. James [Blunt] too. Too much of the music industry is controlled by lawyers and businessmen, making music like it's a product on the factory line. That's what I call insufferable.”

Katie Melua (1984) British singer-songwriter

[Neil McCormick, Who is right? Critics or the public?, http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/09/29/bmneil29.xml, The Telegraph, 2005-09-29]

People, Music, Way, Thinking

“The blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy, but by squeezing from it a near-tragic, near-comic lyricism. As a form the blues is an autobiographical chronicle of personal catastrophe expressed lyrically.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"Richard Wright's Blues" (1945), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 129.

Pain, Personality

“I loved to talk about music to Nicky … His influence came from people like The Beatles and The Beach Boys, and he had these ideas about layering vocals, painting landscapes with music. Roma knew about Irish mythology, told stories, wrote poetry and had this special feeling for lyrics. My grounding came from the classics.”

Enya (1961) Irish singer, songwriter, and musician

Women's Weekly interview (2006)

Love, People, Music, Feeling

“Thou still unravish’d bride of quietness,
Thou foster-child of Silence and slow Time—’

That’s the sort of thing she would have written before the rise of advertising. The correlation is perfectly clear. Advertising up, lyric poetry down.”

Frederik Pohl book The Space Merchants

Source: The Space Merchants (1953), Chapter 4 (p. 48)

Silence, Time

“We don't want teenagers to write violent poems, horrifying stories, explicit lyrics and rhymes; they're ugly, in precisely the way that we are ugly, and out of protectiveness and hypocrisy, even out of pity and love and tenderness, we try to force young people to be innocent of everything but the effects of that ugliness.So we censor the art they consume and produce, and prosecute and suspend and expel them, and when, once in a great while, a teenager reaches for an easy gun and shoots somebody or himself, we tell ourselves that if we had only censored his journals and curtailed his music and video games, that awful burst of final ugliness could surely have been prevented. As if art caused the ugliness, when of course all it can ever do is reflect and, perhaps, attempt to explain it.Let teenagers languish, therefore, in their sense of isolation, without outlet or nourishment, bereft of the only thing that makes it all bearable: knowing that somebody else has felt the way that you feel, has faced it, run from it, rued it, lamented it and transformed it into art; has been there, and returned, and lived, for the only good reason we have: to tell the tale.How confident we shall be, once we have done this, of never encountering the ugliness again! How happy our children will be, and how brave, and how safe!”

Michael Chabon (1963) Novelist, short story writer, essayist

Nanny Nation

Love, Happiness, Children, People

“I just have to feel it first. It can't be cerebral at all. I'm big on lyrics, a big lyric person, especially the kind of singing I do. It's hard to sound not cheesy sometimes with the voice I have with English songs.”

Josh Groban (1981) American musician and actor

Inside Connection, February 2004

Feeling, Singing, Personality

“The better production of our generation has been mainly lyrical and it has been widely diffused.”

J. C. Squire (1884–1958) British poet, writer, historian, and literary editor

Selections from Modern Poets, Complete Edition (1927), p. vi.

“I became part of this German wave of new painting and sculpture [ w:Neo-expressionism ], even though I didn’t fit in. Baselitz and the other young German artists, their paintings were demonstrative figuration, while my work was more lyrical and Cubist, based on still life. None of the curators of the exhibitions at the time knew what to do with it. I could see that they almost wished I’d just withdraw. But it’s an outsider position with which I’ve been really comfortable. I was able to extend myself within my own thing, which wasn’t very successful internationally. My work was not punchy enough. I succeeded in constantly evading branding. My history with Fluxus is actually quite funny. I went to New York in 1966 as a relatively young man, wanting to meet all these artists. Denmark was extremely small and stuffy. In high school I had discovered something called Jackson Pollock, and I was furious that no one had told me about this before... I was calling around, saying, 'Hello, I’m a Danish artist. I would like to meet you.”

Per Kirkeby (1938–2018) Danish artist

1995 and later, interview in Kirkeby’s home studio, Copenhagen (2012)

Life, School, History, Time

“Prose will be used for the more objective branches of writing- novels, plays, essays.. Cadence will be used for personal, emotional, lyrical utterances in which the phrasing goes with a stronger beat and the words live together with an intense flame.”

F. S. Flint (1885–1960) English Imagist poet

Otherworld Cadences (1920)

Personality

“The music I desire must be supple enough to adapt itself to the lyrical effusions of the soul and the fantasy of dreams.”

Claude Debussy (1862–1918) French composer

As quoted in An Encyclopedia of Quotations About Music (1981) by Nat Shapiro, p. 194

Dreams, Music, Soul

“While sitting in my prison cell, I was astonished to hear the local rock station play a new song by the Beatles entitled "Come Together." Although the new version was certainly a musical and lyrical improvement on my campaign song, I was a bit miffed that Lennon had passed me over this way.”

Timothy Leary book Flashbacks

Source: Flashbacks, An Autobiography (1983), p. 388
Context: While sitting in my prison cell, I was astonished to hear the local rock station play a new song by the Beatles entitled "Come Together." Although the new version was certainly a musical and lyrical improvement on my campaign song, I was a bit miffed that Lennon had passed me over this way. (I must explain that even the most good-natured persons tend to be a bit touchy about social neglect while in prison). When I sent a mild protest to John, he replied with typical Lennon charm and wit: that he was a tailor and I was a customer who had ordered a suit and never returned. So he sold it to someone else.

Music, Way

“Both poetry and lyrics and all visual arts draw their power from their ability to express abstractions of reality. …that is a feature of the musical brain.”

Daniel Levitin book The World in Six Songs

The World in Six Songs (2008)
Context: Both poetry and lyrics and all visual arts draw their power from their ability to express abstractions of reality.... that is a feature of the musical brain.

Art, Music, Reality, Drawing

“Richard Wright’s outstanding characteristics are two seemingly opposite tendencies. One is an overwhelming need for association and integration with humanity at large. The other is a tragic, highly individualized loneliness. Except that he is a Negro in 20th century America he might have been a lyric poet. Whenever he describes the life he wants for mankind he rises to great heights of lyric beauty. At the same time when he doubts that a new life can ever be achieved he writes with the same beauty but in tragic despair. Wright wants a new world; men working freely together in social relationships that not only realize a complete personality but develop every potential and result in new associations and new men altogether. He wants to share a common life, not in a regimented sense but in a free interchange of ideas and experience; a relationship which will be the blending of a common belief and a solidarity of ideals. He wants a life in which basic emotions are shared; in which common memory forms a common past; in which collective hope reflects a national future. He has a vision of life where man can reveal his destiny as man by grappling with the world and getting from it the satisfactions he feels he must have. He wants a life where man’s inmost nature and emotional capacities will be used. He has a passionate longing to belong, to be identified with the world at large; he wants the "deep satisfaction of doing a good job in common with others."”

Richard Wright (1908–1960) African-American writer

He doesn’t want a society where he is separate as Negro, but one where he is just another man.
Constance Webb, "Notes preliminary to a full study of the work of Richard Wright" (privately published, 1946)

Life, Men, World, Beauty

“(Commenting on band The Killers' lyrics from the song 'All These Things I've Done') Deep down, it really is just a meaningless lyric, isn't it? [Sings] "I got soul, but I'm not a soldier". I mean, you may as well be saying "I got ham, but I'm not a hamster"”

Bill Bailey (1965) English comedian, musician, actor, TV and radio presenter and author

Tinselworm (2008)

Soul, Singing

“I can't stand the lyrics.”

Daniel Handler book The Grim Grotto

Klaus
The Grim Grotto (2004)

“You stomp the competition with the bass line. You rattle windows. You drop the melody line, and shout the lyrics. You put in foul language and come down hard on each cussword.”

Chuck Palahniuk book Lullaby

Source: Lullaby (2002), Chapter 3
Context: You turn up your music to hide the noise. Other people turn up their music to hide yours. You turn up yours again. Everyone buys a bigger stereo system. This is the arms race of sound You don't win with a lot of treble. This isn't about quality. It's about volume. This isn't about music. This is about winning. You stomp the competition with the bass line. You rattle windows. You drop the melody line, and shout the lyrics. You put in foul language and come down hard on each cussword. You dominate. This is really about power.

“Gentlemen, to the lady without whom I should never have survived for eighty, nor sixty, nor yet thirty years. Her smile has been my lyric, her understanding, the rhythm of the stanza. She has been the spring wherefrom I have drawn the power to write the words. She is the poem of my life.”

Oliver Wendell Holmes Jr. (1841–1935) United States Supreme Court justice

Attribution reported in Respectfully Quoted: A Dictionary of Quotations (1989), which states that this is not verified in works about him nor in Magnificent Yankee, the film about him. Holmes expressed a similar sentiment in a letter to Sir Frederick Pollock (May 24, 1929): "For sixty years she made life poetry for me". Mark De Wolfe Howe, ed., Holmes-Pollock Letters (1941), vol. 2, p. 243.
Attributions

Life, Smile, Spring, Understanding

“You will find many interpretations of my lyrics but none of them by me.”

Don McLean (1945) American Singer and songwriter

As quoted in "What is Don McLean's song 'American Pie' all about?" at The Straight Dope (15 May 1993) http://www.straightdope.com/columns/read/908/what-is-don-mcleans-song-american-pie-all-about <br class="br">Context: As you can imagine, over the years I have been asked many times to discuss and explain my song "American Pie" I have never discussed the lyrics, but have admitted to the Holly reference in the opening stanzas. You will find many interpretations of my lyrics but none of them by me. … Sorry to leave you all on your own like this but long ago I realized that songwriters should make their statements and move on, maintaining a dignified silence.

“I often wish I was asked more about the craft of the verse. I spent so many agonizing hours ensuring every line break was precise, every word and repetition chosen with care—because it was important to me to maintain the integrity of the lyric while also advancing the narrative. It’s that tightrope walk I’m studying in other people’s work and am continuously looking to understand further.”

Elizabeth Acevedo American poet and author

On desiring to be asked about her writing style in interviews in “Meet National Book Award Finalist Elizabeth Acevedo” https://lithub.com/meet-national-book-award-finalist-elizabeth-acevedo/ in LitHub (2018 Oct 29)

People, Understanding, Study

“If you look at the poems in Prelude, you can identify the later material by identifying the poems with more white space and unexpected line breaks. Grief did that to me and my writing. It exploded my expectations and introduced these blank pockets of deep feeling. My prose writing became more fluid and lyrical…”

Saeed Jones (1985) American poet

On how losing his mother affected his writing in “You and I Have Peril in Common: The Millions Interviews Saeed Jones” https://themillions.com/2019/11/saeed-jones-qa.html in The Millions (2019 Nov 21)

Feeling

“Her work has a real beauty. Some of her lyrical work is likely, I think, to survive among the lasting things in English literature and by these, even if they are fine rather than great, she may take her rank among the immortals.”

Sarojini Naidu (1879–1949) Indian politician, governor of the United Provinces of Agra and Oudh from 1947 to 1949

Aurobindo said on her poetry quoted in Critical Response To Indian Poetry In English, p123/xxxx

Beauty, Literature, Thinking

“It’s no accident that so many fabled rock ensembles have had two contrasting leaders (Lennon and McCartney, Jagger and Richards, Plant and Page, Bono and The Edge) to play off each other and cross-pollinate and, at times, butt heads. But Chris Martin completely dominates Coldplay; there’s no yin to his smiley enraptured yang. He’s the rock-king superstar the other band members all worship, humbly, as the genius who made their fates possible, and almost every moment of the band’s creative energy is organized around what Chris is going to do next: the piano chords he’s playing around with, the lyrics he’s writing, his endless studio perfectionism.”

Chris Martin (1977) musician, co-founder of Coldplay

http://variety.com/2018/film/reviews/coldplay-a-head-full-of-dreams-review-1203031635/ source

Fate, Time

“Every phrase can be a good lyric if it has the good rhythm.”

Chris Martin (1977) musician, co-founder of Coldplay

On interview with Wall Street Journal, 2015. source http://www.wsj.com/amp/articles/coldplay-and-chris-martin-open-up-for-new-album-1447868383

“I’m never going to be as adept lyrically as Jay Z or Morrissey.”

Chris Martin (1977) musician, co-founder of Coldplay

On a Zane Lowe interview, 2014. source https://youtube.com/watch?v=9pF7bS_4JnE

“I’ve always said that Chris was the greatest songwriter to ever come out of Seattle. Jimi Hendrix could play the guitar like crazy, but Chris had the song-writing chops that we all sort of hoped to get to at different points in our songwriting careers. He had a way he could wrap a melody around odd time signatures and weird parts and make them catchy. He was a beautiful wordsmith. If you look at his lyrics, he obviously was processing his pain and depression, and all of those things. I think that’s part of what people, myself included, responded to when he was singing. With the songwriting he had that voice, there’s not too many people that have that many options with their voice. He could do a lot of different things with it, and have a lot of different characters in that voice. I feel so lucky that I got to be in a project with him, got to hang out with him, and just sort of witness his greatness.”

Chris Cornell (1964–2017) American singer-songwriter, musician

Jeff Ament talking about Cornell on NBA.com podcast NBA Soundsystem ** Pearl Jam's Jeff Ament on Chris Cornell's death and depression, 30 May 2017 https://www.youtube.com/watch?v=9buvTFxf2EA,

Pain, People, Making love, Beauty

“Holiday varied the lyrics of this and other songs in her renditions of them; included are some of the major passages of some of the variants.”

Billie Holiday (1915–1959) American jazz singer and songwriter

Billie's Blues

Holiday

“Tuslidas’s attitude toward life and literature was distinctly more objective. Quite naturally, therefore, he has used the objective forms–the epic and the narrative- besides of course, the lyric as vehicles of his devotional poetry.”

Tulsidas (1532–1623) Hindu poet-saint

K. R. Sundararajan in Hindu spirituality: Postclassical and modern http://books.google.co.in/books?id=LO0DpWElIRIC&pg=PA306&hl=en#v=onepage&q=Bhakti&f=false, p. 73

Life, Literature, Nature

“What is more, Bhimsen was as much at home in encapsulating the classical mode as in toying with the lighter variety of music. While his alap, bhadat and bandish in the classical mode sported a proportioned, balanced and serene majesty of the melodic range, the lighter Bhava Geet, Thumri, Abhang and Dasapadas were redolent with discreet lyrical flavour.”

Bhimsen Joshi (1922–2011) Indian vocalist

Critique

Music, Home, Sport

“Science produces an incomparably lyrical state in this man.”

Ernest Solvay (1838–1922) Belgian chemist, industrialist, philanthropist

Héger and Lefébure, close friends of Solvay's, quoted by [Pierre Marage, Grégoire Wallenborn, The Solvay Councils and the Birth of Modern Physics, Birkhäuser Verlag, 1999, 3-764-35705-3]

Science

“A good poem is a tautology. It expands one word by adding a number which clarify it, thus making a new word which has never before been spoken. The seed-word is always so ordinary that hardly anyone perceives it. Classical odes grow from and or because, romantic lyrics from but or if.”

Alasdair Gray (1934–2019) Scottish writer and artist

Immature verses expand a personal pronoun ad nauseam, the greatest works bring glory to a common verb.
"Prometheus", pp. 208-9.
Unlikely Stories, Mostly (1983)

Making love

“Lyrics for songs written for the film; the music for the songs composed by Ennio Morricone.”

Joan Baez (1941) American singer

Sacco e Vanzetti (1971)

Music

“I write music with my mouth — first lyrics, then song, then rhythm.”

Tato Laviera (1950–2013) Puerto Rican writer

On his creative process in “An Interview with Tato Laviera, the King of Nuyorican Poetical Migrations” https://www.latinorebels.com/2012/07/11/an-interview-with-tato-laviera-the-king-of-nuyorican-poetical-migrations/ in Latino Rebels (2012 Jul 11)

Music

“When I’m creating music, I don’t have an agenda for a sound or a genre or a message, I just want it to be truthful and representative of the lyrical content that means something to me, and the music that I love.”

Chris Carmack (1980) American actor and model

‘Nashville’ Star Chris Carmack on Introspective New EP: Ram Report https://www.rollingstone.com/music/music-country/nashville-star-chris-carmack-on-introspective-new-ep-ram-report-188637/ (December 11, 2015)

Love, Truth, Making love, Music

“I feel a spiritual sense, and that sense is a connection between generations. Some of the lyrics are about connecting intuitively with Mother Earth, sometimes with our evil nature, sometimes with our goodness. I love to connect with my ancestors. Also, I need to express these concerns that are a part of my generation.”

Lila Downs (1968) Mexican American singer-songwriter

On striking a balance between traditional and contemporary issues in “Lila Downs Reminds Us of the Strength Women Bring to Latin America and its History” https://sheshredsmag.com/lila-downs-14/ in She Shreds (2018 May 3) <br class="br">Music and culture

Love, Making love, Feeling, Nature

“The best parts of this book grow out of poems and song lyrics.”

Zhiyanzhai

Comment on the scene in which Baoyu meets Hsiao-hung for the second time in chapter 25, as reported and quoted in Enchantment and Disenchantment: Love and Illusion in Chinese Literature by Wai-yee Li (Princeton University Press, 1993), footnote on p. 168

Books, Parting

“For me it's important to make great dance songs, growing up as a dancer. You know, not only just getting lost in the beat but getting lost in the lyrics whether it’s about having a great time or having lyrics with more of a purposeful meaning.”

Victoria Duffield (1995) Canadian actor, singer and dancer

Source: Interview with Victoria Duffield http://www.liveinlimbo.com/2011/09/24/interviews/888-interview-victoria-duffield.html (24 September 2011)

Time, Dance

“Lyrically I like to use themes that make the listener use his or her imagination, and to give a little of the lessons I've learned in my own life. The best subjects are always people, who never fail to amaze me by their unpredictability.”

Ronnie James Dio (1942–2010) American singer

Speaking on his plans for the Dio album Master of the Moon, interview https://ronniejamesdiosite.com/NewsInterviews/Interviews/metalmastersJAN04/MMjan04RJD.html, Metal Masters, January 2004

Life, People, Imagination, Learning

Quotes about lyrics page 3

Quotes about lyrics
page 3