I wrote lyrics that were intensely personal to me a few years ago. Maybe people know me better now.
I get the lyrics of a tune and interpret them my way.
Rick Black writes with the honed elegance of a poet so in command of lyric sentiment and the efficient evocative use of language that what results is indeed as urgent and vulnerable as true prayer ... There is something profoundly human and completely necessary about Star of David.
I started cutting my teeth on "Someone To Watch Over Me" [George Gershvin] in the college. I've sung that one for a while. There's something so simple and sweet about that lyric.
You can find me in the melodies, the chord progressions, the song style and structure. The lyrical places you fine me most are in the lyrics that 'show' more than 'tell.' I like to describe what the listener is seeing and let them make up the middle rather than telling them.
When you're given a song, it's my job to record the lyrics, story and emotion, and make everyone who is listening to the song believe that it was my words and experience.
I have had much to learn from Sweden's poetry and, more especially, from her lyrics of the last generation.
I write my lyrics the day I sing the song, so even when I have the basic things, I'm thinking what can I change, what can I add, how many harmonies can I do.
I love to write and have the basic foundation of what the song's all about. Then once the drums are done it's time for fun for me, because I don't know what I'm going to sing yet, and melody-wise I don't even have my lyrics written...
I think the whole concept behind lyrics is you better mean what you say, or you should like, become a storyteller. I mean, there's a lot of bands who are just storytellers, and then there are bands who actually have something valid to say. And the bands who have valid points are few and far between.
I actually find a lot of pleasure in writing lyrics.
Sometimes I'll listen to a lyric and I'll be so pissed off that I didn't write it.
Music is my catharsis for that. It's an incredible blessing that I have this way of expressing myself through music and lyric, and I'm so grateful for that in moments of pain or of suffering - that I have this means of channeling it; it's really amazing. My band as well - having them around and being able to jump on stage and bond together and share that energy is really uplifting as well.
When I see other rappers' lyrics of "I don't do what I don't like to do", I feel like it's really cool and there's also an envious side to me about it.
We have certain rules for traditional lyric poetry in Korea. I twist my body, confused by what to say and how to act, facing these rules. Confronting traditional lyricism, I speak with a bare body without the tattoos of culture on it.
Alienation between the content and form happens frequently in my poems because I obstinately carry on dismantling my body, an act you can also call "dismantling delusion." I think that after I dismantle my female body, I can finally dismantle established lyric poems.
I thought Everything Ecstatic was the happiest of them all - hence the "ecstatic" name. The whole concept behind that was total out-and-out euphoric mania. I think tracks like "Smile Around The Face" are the jolliest things I've ever done, really. But one of the things I like about my music is the fact that it's instrumental, so there are no lyrics to guide people.
Many of my lyrics are about having sex with prostitutes.
I've just really been into melody and lyrics and songwriting. Writing a rap, to me, is easy. I could write a rap like that. But writing songs and melodies and s**t that's hopefully going to stick around for 30, 40 years is f**king hard...If you have good songs and you're talented, people will eventually come to your shows, people will buy your music.
I'm a bit of an insomniac. I'm always thinking. I've got a lot of ideas for lyrics and shows. I have a notepad by the side of the bed and voice recorders around the house.
The kind of poetry I write, lyric poetry, I think is really concerned with intimacy, with mystery. That needn't be religious mystery, there are mysteries to do with everyday life.
In fact, I love singing. I just have a small problem with pitch, tune, melody, and lyrics. But that's never stopped me.
I don't really plan what comes out of my mouth, and that's what makes most of my lyrics entertaining.
I've always felt like my music would stand for itself and I would stand for myself. So I've kept my music a little bit esoteric, and I've kept the lyrics a little aloof. I try to say something important, but I don't necessarily preach.
Everybody has their own way of hearing songs. My fans are usually pretty on point. Sometimes they go all the way to the bottom of it. It's fascinating to me how far an idea can go. I wrote most of my first album in my mom's kitchen, and now I can go around the world and hear people recite those lyrics, and understand the story, even though they're not from the same area I grew up in.
My lyrics say I have morals, I have confidence, I have weaknesses, I have strong points, that I am a human being.
I always write lyrics first and the rhythm and the melody come from the lyrics. It always comes from the lyrics: words have rhythm and words have melody.
There is a great temptation with songs, melodies and lyrics to overcomplicate them but in fact, you find that the most enduring melodies are often the simplest.
I am a musical-theater nut. When the lyrics, orchestration, and performance all come together just right, I come alive and can feel every cell in my body.
The only music minister to whom the Lord will say, 'Well done, thy good and faithful servant,' is the one whose life proves what their lyrics are saying, and to whom music is the least important part of their life. Glorifying the only worthy One has to be a minister's most important goal!
I'm totally into Taylor Swift. I think she has super-clever lyrics, and I love that she writes her own music. Some of the themes she writes about are stuff I wish was there for me when I was in high school, and I'm so happy she really cares about her female fans. She's not catering to a male audience and is writing music for other girls.
If rock-and-roll is well done, there's nothing so terribly wrong with that kind of music. But the lyrics are another story.
Quite often, lyrics get misunderstood - and I never mind that. I guess what all artists want is for their work to touch someone or for it to bethought provoking.
When you'd buy vinyl, you'd have this lovely-sized object with a lovely picture, and you'd read the lyrics and usually there was something artistic that went with it.
Sometimes people mishear my lyrics and think a song's about something it isn't.
Sometimes my lyrics are about things that are, well, not the brightest, but I have been working with this outlook for such a long time that it's not dark to me anymore. It's just something that you work through and in the end, it's a lot of happiness.
— Karin Dreijer Andersson
I don't fake my music. If I want to be known for anything it's for creating honest music. Noting is fake or will ever be fake about the lyrics and pain in my music. My music I live it.
As a songwriter you have an umbilical cord to the song and it's hard to expand on your understanding of the lyrics. Whereas when you cover a song you can create your own reason why you're attached to it.
If it wasn't for this person's privacy, I'd be able to talk pretty freely about this subject on a personal level. The record's about not her. It's about my struggles through years of dealing with the aftermath of lost love and longing and just mediocrity and just bad news, like life stuff. And in the [record], where the title comes from, the lyrics are actually a conversation between me and another girl, not this Emma character.
It was all the things I wanted my music to be, but yet it wasn't grand and it wasn't obtuse - it wasn't overshooting, it wasn't undershooting, it was precise. The lyrics and the way that I was able to extract and excavate emotion within me.