I just try to sing every song with sincerity.
'Billie Jean' was a negative dance song, and that was one of the best dance songs ever.
You're only as good as your last song. That's something somebody told me, and it's so true. You've just gotta keep putting yourself out there, even promoting 'God Made Girls.'
I don't specifically sit down to write a Motley Crue song, so for me, that's how it works. The things that sound like they might be Crue, I put aside on my hard drive and keep them in that pile.
Prince was one of the best people I've met. He didn't care about the big system. I was always like, at any time, Prince could write a No. 1 song because he's that talented, but he chooses to do what he wants. I respect that. He actually helped me through a lot of situations with his knowledge.
Let's not allow the voice of the people to be overwhelmed by the siren song of those who opposed regulation, who demanded that government should stand aside and let finance and business run the show.
I've never worried about how long the song is.
I am more interested in how people interpret the phrase 'Elect The Dead' than what I may or may not have intended. I named the album after the track, which is a spiritual song about love, life and death and is the heaviest song on the album without having any heavy instruments.
The longer one is alone, the easier it is to hear the song of the earth.
When you sample something, you're using the crutch of borrowing chords and melodies from a song that's already great, that's already stood the test of time, that's already special. When you're trying to do it all from scratch, you're writing something brand new that has to stand on its own.
It's important to me that my songs actually make sense. So often, I turn on the radio, and I have no idea what the people are singing about. It may sound good, but when you listen, they're just saying words that rhyme. It's another song about nothing.
I make no claim that Jewish culture is superior to other cultures or that the Jewish song is better than the song of my neighbor.
It can even be a single note which defines the entire song.
When I'm writing a song for another artist, I purposefully make it not for me; otherwise, I get too attached.
I didn't really like 'You Raise Me Up' at the time we recorded it; now it's my favourite Westlife song.
Throughout my career, if I have done anything, I have paid attention to every note and every word I sing - if I respect the song. If I cannot project this to a listener, I fail.
Live well. Sing out, sing loud, and sing often. And God bless the child that's got a song.
I didn't choose a word or anything. I just wrote the song until it stopped.
My goal is to think of nothing when I'm writing a song because too many influences could sabotage a potentially amazing song.
Prayer does not use up artificial energy, doesn't burn up any fossil fuel, doesn't pollute. Neither does song, neither does love, neither does the dance.
I feel like 'Next To Me' is a great introduction because it's a simple song that has a simple message for me. I wanted to introduce something that lyrically I'm proud of and introduces me both as an artist and as a writer.
I'm not a song and dance man, so you're not going to see me on 'Glee' anytime soon. If you want that show to continue, keep me far away from it.
If it weren't for the rocks in its bed, the stream would have no song.
I just want to be in the studio 24/7. Even if I'm not working on a song right then, just sit in the studio. That's what I love.
I love a lot of music that's considered folk music, but I also love a lot of music that's considered punk or considered rap. I don't mind being called a folk singer. But it seems a bit limiting. I want to be able to write whatever kind of song I want.
I always like Madonna; any Madonna song is good for me.
With 'Wagon Wheel,' I loved the visual it painted, and it's a song I can truly say I look forward to performing every night.
When I started writing poetry, it was always in very hip-hop influenced spaces: Someone would teach a Nas song side-by-side with a Gwendolyn Brooks poem, and we'd talk about the connections between those things.
If you have a song that you think sounds like another song you should contact the publishing company and say I have a song here, let's cut a deal that lets everyone walk away feeling good.
Sometimes the magnetism of a song is impossible to ignore, and it demands that it be sung in a certain way.
I'm no diva but I can be annoying in a recording studio. Of course I try to be a diva in terms of confidence of performance and owning a song but I've never behaved like one in terms of the negative connotations of the word.
The only reason I felt like I could sing a song like 'Blown Away' is because I have definitely lived through my fair share of trips to the cellar in the spring. We were no stranger to that. I still ask my mom, 'Is the cellar cleaned out now? Is everything OK?' Even in my new house, I had something built in it that's like a storm shelter.
'Can You See' is a beautiful song that follows a story of the star. It's a very inspirational song.
I write songs very quickly, so the 20 minutes of joy I get out of writing a song doesn't compare to the two months of joy I get engaging with the people who like my music.
With a song called 'House Party,' you'd expect it to be more about a big party, not as much about a relationship, so we tried to put a little bit of a unique twist on it.
I think I was perceived in one fashion. A video is based on a song. I think you can get glimpses of people's presence within that. There's some people you enjoy watching more than others.
