Zitat des Tages über Lyrisch / Lyric:
Some of the songs on the radio are really outrageous. I listen to the lyric. If the lyric doesn't make sense, I don't like the song.
I was half asleep lying there writing this lyric in my head at about 3:30 in the morning. I woke Steve up with this idea and then we went into the living room where there was a little upright piano and finished the song. I wonder where that piano is now?
Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.
Every night we all felt grateful to be there, stunned at the amount of people that are there, and stunned at their reactions. They go crazy; they know every lyric from eight years of age to eighty. It's unbelievable.
The thing is: in order to reach an agreement, to reach that balance, sometimes it is sort of like that old Rhinestone Cowboy lyric, 'There'll be a load of compromisin' on the road to my horizon.' For those of you who were too young, or don't recall the song, made famous by country singer Glen Campbell, it is your loss.
Most lyric poetry is about love, whether yearned after, fulfilled, or wistfully regretted; what isn't tends to consist of laments and cris du coeur over this, that, and the other.
I'm not a lyric writer to make statements. What I enjoy doing is making paintings with lyrics, creating colorful images. I think that's more what entertainment and music should be.
I usually start with a lyric and see where that takes me.
My inspiration comes from so many things, it is hard to give credit to one. I find music of all kinds to be a great inspiration. A melody or a lyric can fire my imagination. Exercise is another. Endorphins fuel my thoughts - I tend to work out scenes and dialogue when I am exercising. Reading is also a great inspiration.
I grew up the biggest fan of the Cure. Knew every lyric, had every album, B-side, single, poster, everything. Then cut to fifteen years later, and we're working on songs together. Ridiculous.
What I want, when I write a poem, is no more than this: that it be preserved in some published form so that, in principle, someone, somewhere, will be able to find it and read it. That is all I need, as a poet, and that is the beauty, the luxury of my position. My lyric is mine and remains mine. Nobody can ruin it.
I want to suggest a feeling. It's ridiculous to assume you can state an opinion. Somebody else can never relate to the lyric in the same way because their whole experience is different. You can only suggest, then people add their own history and experience to the lyrics.
I fell into lyric writing because of music. I backed into it.
I just want to write a great lyric and write a great song, and everything else is icing on the cake.
I have a card catalogue in my brain of every lyric of every sappy love song ever written.
I understand that transposing a song a half step can effect the believability of a lyric.
I'm not a pop song lyric writer. I can't just focus on one simple meaning or even a double entendre.
A novel takes place over time. It's a historical narrative, and it needs to have a series of peaks and valleys and the move through. You can't just start at the highest pitch and stay there, but you can in a lyric poem.
I am never without my lyric book. If anything inspirational happens, I have it there so nothing's forgotten.
I began as a fiction writer - I had written three novels in my 20s and 30s. But as my work has gravitated towards literary nonfiction, or lyric essay or poetic essay, whatever you want to call it, I'm constantly beating my head against the wall 'cause I'm teaching a genre that's no longer that exciting to me and that I'm no longer practicing.
In those days, it didn't take much imagination to come up with something that required great lyric development skills. You just thought of an experience that you might have gone through, and write it down.
When I discovered the lyric poem, that advanced not by narrative steps but by blocks and layers of imagery, I said, 'Gee, I probably could do that. So let me try that.'
That's really what was wonderful for me growing up, since I got to know so many of the songwriters who liked me and thought I had talent. They would then tell me how to read a lyric and sing a song, and challenge me to try and find a different end to a song.
Everything that Traffic ever did, I'd give Steve a complete lyric, titled, written out with the verse, the bridge, the shape and rhyme and then Steve had to figure out how the meter of the words would fit musically.
My chutzpah was me singing to Mario Lanza. So Mario looked at me after I talk-sang 'Be My Love' for the first time; he took the lyric out of my hand as contemptuously as you can take a lyric out of someone's hand, and he sang 'Be My Love' back at me.
Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.
I get a different kind of lyric from someone else that might make me go in a different musical direction.
He doesn't make it so complicated but just really allows the lyric to come through even though there's a lot of production going on. I think that's the key and that's the magic, it's making sure that people could still connect with the lyrics while they're on the dance floor.
When the student has her voice under complete control, it is safe to take up the lyric repertoire of Mendelssohn, Old English Songs, etc. How simple and charming they are!
The fact that The Bridge contains folk lore and other material suitable to the epic form need not therefore prove its failure as a long lyric poem, with interrelated sections.
I'm a composer, and therefore I know when I've written a good tune. When you've written a good song is when you know that the lyric is completely coalesced with the song.
Lyric writing is an interesting process in Sonic Youth. There's three people writing now, and we've all had a lot of interest and involvement with expression through words.
Growing up, I was listening to a ton of Motown music, Otis Redding, Aretha, and then there was the Beatles and Led Zeppelin and Janis Joplin. These were all people that I felt as though they truly felt every single lyric they said, and they weren't afraid of imperfection.
Rock and roll doesn't necessarily mean a band. It doesn't mean a singer, and it doesn't mean a lyric, really. It's that question of trying to be immortal.
As a writer, I find it very satisfying when a lyric suddenly ties together more neatly than you expected it to. But for the listener, hearing a good lyric is not generally as exciting as hearing a great beat or a great riff or a great melody or even a distinctive singing voice for the first time.
Even if I'm writing music, it's with a lyric in mind, to communicate some kind of feeling.