But touch me, and no minister so sore.
Whoe'er offends, at some unlucky time
Slides into verse, and hitches in a rhyme,
Sacred to ridicule his whole life long,
And the sad burthen of some merry song.
At the end of the day, if I do a set at a festival and I only have an hour, which is kind of short for a DJ set, I know that I have to play at least six of my songs. Then the whole challenge is what do I weave around that. How do I stand out? Because at a festival there's probably fifteen songs every DJ's going to play every hour, for the whole day. That to me is more interesting, because I still feel like an outsider in this world.
Sport is the bloom and glow of a perfect health. The great will not condescend to take anything seriously; all must be as gay as the song of a canary, though it were the building of cities, or the eradication of old and foolish churches and nations, which have cumbered the earth long thousands of years.
The lyrics are not an important thing to me. In fact, it can be a distraction. If I knew the language enough to know it was a horrible love song with stupid lyrics - like most of the popular songs are today in the English language that I hear - then it would be much more of a turnoff then if it would allow me to interpret it from the expressive capabilities of the vocalizing or of the sound itself, which allows me to create my own meaning for it, which elevates it into a higher piece of work for me.
If you are a cabaret artist and you are mostly singing other people's songs, you're asking them to rethink a song, listen to it in a different way. The most impact you can have while asking them to re-listen to a song is if it's a song they know very well.
Death darkens his eyes, and unplumes his wings, Yet the sweetest song is the last he sings: Live so, my Love, that when death shall come, Swan-like and sweet it may waft thee home.
I would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.
My process for the parodies is that I get an idea for a song and then get approval from the artist and then go in and record it and probably try to get it out as soon as possible.
Truth is, you make albums, and some of those songs are hits, and some of the greatest hits albums have songs that weren't hits. You have a career, the reason why we're still around 10 years is that we do have successful songs.
Daniel Levitin takes the most sophisticated ideas that exist about the brain and mind, applies them to the most emotionally direct art we have, our songs, and makes beautiful music of the two together.
The [book of the bible] Song Of Songs is an amazing erotic love poem that the church has tried very hard not to notice. It is really beautiful, and musical in its poetry.
I live alone in a house, so for me it's very good to just be able to re-charge and just disappear and escape from reality and that's usually when I write most of my lyrics and my songs. It's a very happy productive place.
Gaily bedight, A gallant knight, In sunshine and in shadow, Had journeyed long, Singing a song, In search of Eldorado. But he grew old— This knight so bold— And o’er his heart a shadow— Fell as he found No spot of ground That looked like Eldorado. And, as his strength Failed him at length, He met a pilgrim shadow— ‘Shadow,’ said he, ‘Where can it be— This land of Eldorado?’ ‘Over the Mountains Of the Moon, Down the Valley of the Shadow, Ride, boldly ride,’ The shade replied,— ‘If you seek for Eldorado!