I was in a Broadway musical called Big Time Buck Wright.The play didn't make it but I was a success. It lasted six days but I sung four songs and there were critics, seriously, in New York who said that my part was perfect. So I can beat Joe Frazier singing.
Then, at the last and only couplet fraught With some unmeaning thing they call a thought, A needless Alexandrine ends the song, That, like a wounded snake, drags its slow length along.
For flowers that bloom about our feet; For tender grass, so fresh, so sweet; For song of bird, and hum of bee; For all things fair we hear or see, Father in heaven, we thank Thee!
I write about what I know and what I've experienced. That's the only way it can be real to me. I love songwriting. There is something so satisfying in coming up with an idea and turning it into a song that means something to people.
The very funny thing about "Like A Rolling Stone" is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.
Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.
There's just enough drinking and cheating songs around without me adding to them. Unless you've got something better than "Misery and Gin" by Merle Haggard, you're beating a dead horse.
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.