Quotes About Lyrics

I've learned by experience that, if I get too clever with lyrics, or if I'm not totally embodying my own wants and needs in the songs, I can't remember them.

'Manu' is one of the best albums. The climax song will be a trump card for all break-up songs. Everybody will talk about the language of the lyrics.

Let's be honest, 'Ginza' doesn't really have lyrics to speak of. It's a party track - a party for reggaetoneros to come out of the closet.

Collaborating on lyrics has never worked for me.

I'm writing a record of comedy songs. I'm doing all these collaborations with artists. I bring them lyrics and they write the music to it.

I like the idea that songs can communicate in a way no other media can. That's why I write them.

There's not only emotion in the way you sing but also in what you sing. That way I can compensate it.

Usually I go to the studio to write lyrics and compose music. I try to be a dad as much as possible at home.

The Smiths hasn't been equaled. That goes for the composition of the songs, the lyrics, and the performance.

Lyrics is the face of any song. The combination of composition, lyrics and singing is what makes a song a song.

It's such a rush doing a concert and seeing people actually mouthing the lyrics.

I open all my concerts with 'My Backpages,' written by Bob Dylan, and close them all with 'May the Road Rise to Meet You,' written by Roger McGuinn and Camilla McGuinn.

Bob Dylan enabled rock & roll to grow up and survive. He injected the power of language and ideas into the music.

Fleetwood Mac were really accessible musically, but lyrically and emotionally, we weren't so easy. And it was our music that helped us survive. But all of us were in pieces personally.

The first NWA album is the first rap album I heard with swearing.

After that, I specifically started writing lyrics. I would like sweat and think and get it all together.

The Swedish style of songwriting is so mathematical.

Big band music, to me, it really has three key elements. First is the lyrics are really sweet, and they're just really family-friendly. The second thing is the music is jazz music, so the music is complicated enough to hold your attention for 5 or 6 million plays. That makes the songs interesting. The last part is the fact that it's danceable.

I kinda feel that my brother wrote some of the best country lyrics ever - 'The Ballad of Curtis Loew,' 'Mississippi Kid' and that little hit 'Sweet Home Alabama.'

I was a huge fan of the bandleader Ray Noble when I was younger. He was one of the biggest musical names of his day and wrote such romantic songs as 'Goodnight Sweetheart' and 'The Touch Of Your Lips.' Wonderful stuff.

You obviously don't really forget how to play the old songs; you just don't have to spend so much time convincing yourself that you remember them. Way less mental energy is spent swimming around in lyrics you've already written and chords you've already played.

A lot of the lyrics I write involve images that just swing the song in a way that feels really good to me and there isn't a literal explanation. They're not riddles for the listener to solve.

Old-school Dire Straits songs are on heavy rotation: 'So Far Away,' 'Romeo and Juliet' and of course 'Sultans of Swing.'

I feel like you become a songwriter when you claim that it's sort of like a switch flipped, and you're always writing. Even in your sleep, you're always thinking about it in the back of your mind. The true writing - when you're officially writing - that's just when its front of mind, but its always there. You're always listening for a hook.