Great Songwriter Quotes

You read and write and sing and experience, thinking that one day these things will build the character you admire to live as. You love and lose and bleed best you can, to the extreme, hoping that one day the world will read you like the poem you want to be.

Maybe I can learn to live in a way that makes it worth writing about, and maybe I can actually become something more than this empty shell.

I didn't do music to live; I lived so that I could do music.

It was a very ordinary day, the day I realised that my becoming is my life and my home and that I don't have to do anything but trust the process, trust my story and enjoy the journey. It doesn't really matter who I've become by the finish line, the important things are the changes from this morning to when I fall asleep again, and how they happened, and who they happened with. An hour watching the stars, a coffee in the morning with someone beautiful, intelligent conversations at 5am while sharing the last cigarette. Taking trains to nowhere, walking hand in hand through foreign cities with someone you love. Oceans and poetry. It was all very ordinary until my identity appeared, until my body and mind became one being. The day I saw the flowers and learned how to turn my daily struggles into the most extraordinary moments. Moments worth writing about. For so long I let my life slip through my fingers, like water. I'm holding on to it now, and I'm not letting go.

All I wanted was my art and the chance to be the creator of my own world, my own reality.

Bad music is a form of murder to the true art of music in general.Bad music forced on a child is abuse because it invariably forms that child´s taste in music. Bad music has raped an industry that was held up strongly by great expression for decades but now finds itself floundering, giving in to the lowest common denominator of music just to keep its panties around its waist. Bad music tortures the eardrums and kills little bits of your senses through prolonged exposure. Bad music steals money from shallow pockets, steals airtime from more deserving bands and songwriters, and steals the spotlight from undiscovered geniuses who have all but given up on a dream because of the mediocrity of popular radio. Bad music is a lie, and yet it is foisted on the public in an attempt to turn melodies and songs into hamburgers and fries. Bad music is truly a sin because you don´t have to be exceptional to make it in the music industry anymore. You just have to be good enough to stick around and be tolerated. I understand that bad music is a matter of opinion. I know that. But I am fairly confident that more people agree with me than you suspect. Bad music is just fucking bad.

Every work of art is one half of a secret handshake, a challenge that seeks the password, a heliograph flashed from a tower window, an act of hopeless optimism in the service of bottomless longing. Every great record or novel or comic book convenes the first meeting of a fan club whose membership stands forever at one but which maintains chapters in every city -- in every cranium -- in the world. Art, like fandom, asserts the possibility of fellowship in a world built entirely from the materials of solitude. The novelist, the cartoonist, the songwriter, knows the gesture is doomed from the beginning but makes it anyway, flashes his or her bit of mirror, not on the chance that the signal will be seen or understood but as if such a chance existed.

The real flight of this hawk is impending. Still,this bird is yet to be tested for real. Though I have leaped over the seas, well,the entire sky is still remaining to fly. And make sure that ,i am gonna do it with all my heart and all my soul. #loveyoourlife #liveyourlife #hvFUN

Pythagoras felt that specific notes affected people to very minute gradations of feeling. And every songwriter, I think, knows that D is a great key for a long song. It just happens to work. And B flat is always a great jump key for jazz. ~ Janis Ian

I'd chased this life with all of my heart. I wanted so badly to express myself and be heard and bring solace to other people with my own words. But it became a hell I'd created, a cage I'd built and locked myself in. I came to hate that I'd put my heart and my pain into my music because it meant that I couldn't ever leave it behind. And I had to keep singing it to him, night after night after night, and I could no longer hide how I felt or what being next to him was doing to me. It made for a great show. But it was my life.

The bravest warriors are the ones who stand for peace.

I don’t care what bad songwriters do. I don’t care what lazy songwriters do. Just don’t try to do it with me. Even if I’m not going to be that great I’m damned sure going to try to be.

Bruce is still my friend. We don't talk much. We don't have to. He is great and in his own league. I'm not him and he is not me. But we are on similar paths, writing and singing out own kind of songs around the world, along with Bob and a few other singer/songwriters. It is a a silent fraternity of sorts, occupying this space in people's souls with our music. Last year, I lost my right-hand man, the pedal steel guitarist Ben Keith. This year Bruce lost his right-hand man, the saxophonist Clarence Clemons. It's time for another talk; friends can help each other just by being there. Now both of us will look to our right and see a giant hole, a memory, the past and the future. I won't play with another steel player trying to recreate Ben's parts, and I know Bruce won't play with another sax man trying to play Clarence's. Those parts are not going to happen again. They already did. That takes a lot out of our repertoires.

teacher in Detroit asked Stevie Morris to help her find a mouse that was lost in the classroom. You see, she appreciated the fact that nature had given Stevie something no one else in the room had. Nature had given Stevie a remarkable pair of ears to compensate for his blind eyes. But this was really the first time Stevie had been shown appreciation for those talented ears. Now, years later, he says that this act of appreciation was the beginning of a new life. You see, from that time on he developed his gift of hearing and went on to become, under the stage name of Stevie Wonder, one of the great pop singers and songwriters of the seventies.*

Since I began meditating in 1979 (steadily, if not as regularly as intended), I have been a successful songwriter devoted to the greatest good, with my creative ego in service of the whole. Interestingly, I can’t recall any “writer’s block,” ever. Through a sustained channel of appreciative inquiry into the human and Divine, I’m flooded with ideas. (All the more reason to sit quiet, to bathe in the Akashic realm, in universal mind.) If anything, the number of song fragments and essay themes streaming in require more time and consideration than there are hours in a given day or week. This creative abundance is a great joy and, only sometimes, a burden.

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

One of his chief strengths was his ability to observe, assimilate and then reinterpret,” said Dez Dickerson, who played guitar with Prince from 1979 to 1983. “So, with every engineer he worked with, he was observing and assimilating recording techniques. He was also observing and assimilating songwriting techniques and stuff that was freely happening inside the band. And all of that influenced him and he became a shape-shifter—he became great at assimilating these techniques and reinterpreting them in a way people didn’t recognize. And that became the genius of Prince.

I hope that most people at this point in time realize that Prince is one of the great poets of our time. I didn’t say songwriter—I said poet. Prince is the closest thing we have to e. e. cummings and people are so stupid because they don’t come in here and buy books of Prince poems.

Anger is energy: If you hold on to it, it’ll infect you. But if you channel it into something positive — great things are possible.

Gratitude is often considered an element of spirit or purpose. But what are we expected to be grateful for? Innovation calls for financial gains, promotions, and possessions to stoke the fires of gratitude. But kaizen invites us to be grateful for health, for our next breath, for the moments with a friend or colleague. When famous songwriter Warren Zevon was suffering from terminal cancer, David Letterman asked him what wisdom he gleaned from his illness. Zevon’s answer was pure kaizen: “Enjoy every sandwich.” Some quotes on service and gratitude to begin your exploration of kaizen: “I long to accomplish a great and noble task but it is my chief duty to accomplish small tasks as if they were great and noble.” —Helen Keller “We have to learn to live happily in the present moment, to touch the peace and joy that are available now.” —Thich Nhat Hanh, Buddhist Zen master “Strive not to be a success, but rather to be of value.” —Albert Einstein “I would rather have it said, ‘He lived usefully’ than ‘He died rich.’ ” —Benjamin Franklin

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

Joan Joyce is the real deal, a fierce competitor and one of the greatest athletes and coaches in sports history. Tony Renzoni’s moving tribute to Joan shows us why she is a champion in sports and in life. —Billie Jean King, sports icon and equality pioneer The story is all true. Joan Joyce was a tremendous pitcher, as talented as anyone who ever played. [responding to a newspaper account of his early 1960s match-ups against Joan Joyce] —Ted Williams, Hall of Famer and Boston Red Sox great, December 30, 1999 Joan Joyce is truly the greatest female athlete in sports history. And a great coach as well. Tony Renzoni’s well-researched book is a touching tribute to this phenomenal athlete. I highly recommend this book! —Bobby Valentine, former MLB player and manager Quotes for Historic Connecticut Music Venues: From the Coliseum to the Shaboo: I would like to thank Tony Renzoni for giving me the opportunity to write the foreword to his wonderful book. I highly recommend Connecticut Music Venues: From the Coliseum to Shaboo to music lovers everywhere! —Felix Cavaliere, Legendary Hall of Famer (Young Rascals/Rascals, Solo) As the promoter of the concerts in many of the music venues in this book, I hope you enjoy living the special memories this book will give you. —Jim Koplik, Live Nation president, Connecticut and Upstate New York Tony Renzoni has captured the soul and spirit of decades of the Connecticut live music scene, from the wild and wooly perspective of the music venues that housed it. A great read! —Christine Ohlman, the “Beehive Queen,” recording artist/songwriter Tony Renzoni has written a very thoughtful and well-researched tribute to the artists of Connecticut, and we are proud to have Gene included among them. —Lynne Pitney, wife of Gene Pitney Our Alice Cooper band recorded the Billion Dollars Babies album in a mansion in Greenwich. Over the years, there have been many great musicians from Connecticut, and the local scene is rich with good music. Tony Renzoni’s book captures all of that and more. Sit back and enjoy the ride. —Dennis Dunaway, hall of famer and co-founder of the Alice Cooper band. Rock ’n’ Roll music fans from coast to coast will connect to events in this book. Strongly recommended! —Judith Fisher Freed, estate of Alan Freed

They were, in short, instinctive, rather than rational, as artists - a trait which might be ascribed to their youth and social origin, but which owes most to the fact that they were working musicians rather than composers. All the great songwriting teams to have preceded them were, in that sense, composers rather than performers.

Off the road, we were increasingly conscious that life existed outside the band. All of us were working with other musicians either as performers or producers. Amongst the mass of demo tapes musicians sent, David had received one from a schoolgirl whose songwriting and voice stood out above the rest. He encouraged her career over a period of time, and was rewarded by seeing her achieve great success with her first single ‘Wuthering Heights’ and album The Kick Inside: it was Kate Bush.

The Hudson Burlesque Of all the theaters I miss from that era, the Hudson Theatre tops the list. It was built in what was then called Union Hill, early in December 1907. We called it the Hudson Burlesque, and it featured striptease artists such as Lili St. Cyr, Gypsy Rose Lee and Tempest Storm. Being too young to get into the theatre on my own, I usually offered an adult standing in line some money to take me in. Once inside, I would head for the front of the theatre to the fire exit on the right side of the orchestra seating. It was all prearranged with my friends waiting outside! With one kick, the door would open, allowing them to come streaming in. There were not enough ushers to catch us all, so some of us would invariably be caught and evicted, only to try to gain access again. It was all great fun! “I don't think there is such a thing as being too raunchy when it comes to the art form of burlesque.” Christina Aguilera, American singer-songwriter and actress. From the upcoming book “Seawater One.

Born on March 20, 1971, she celebrated her 100th birthday this past March. During the war she toured the battle zones, where British forces were fighting by giving concerts for the troops. The songs most remembered from that era are We'll Meet Again, The White Cliffs of Dover, A Nightingale Sang in Berkeley Square and There'll Always Be an England. During the Second World War she earned the title of “the Allied Forces Sweetheart.” And in 1945 she was awarded the British War Medal and the Burma Star for her untiring devotion to the Crown and the men in uniform. As a songwriter and actress, her recordings and performances were enormously popular. This popularity remained solid after the war with recording of Auf Wiedersehen Sweetheart, My Son, My Son and I Love This Land, which was released to mark the end of the Falklands War. In 2009, at age 92, she became the oldest living artist to top the UK Albums Chart, with We'll Meet Again, The Very Best of Vera Lynn. Commemorating her 100th birthday she released the album Vera Lynn 100, in 2017, which number 3 on the charts, making her the oldest recording artist in the world and the first centenarian performer to have an album in the charts. Vera Lynn devoted much time working with wounded ex-servicemen, disabled children, and breast cancer. She is held in great affection by veterans of the Second World War and in 2000 was named the Briton who best exemplified the spirit of the 20th century.

Late in 1967, still struggling to write a keeper song, Allman found himself sitting in a room in Pensacola’s Evergreen Motel, holding Duane’s guitar, which was tuned to open E. “I picked up the guitar and didn’t know it was natural-tuned,” Allman recalls. “I just started strumming it and hit these beautiful chords. It was just open strings, then an E shape first fret, then moved to the second fret. This is a great example of the way different tunings can open up different roads to you as a songwriter.

I hope that most people at this point in time realize that Prince is one of the great poets of our time. I didn’t say songwriter— I said poet. Prince is the closest thing we have to e. e. cummings and people are so stupid because they don’t come in here and buy books of Prince poems. It

And the most talented people in every occupation have huge advantages over their ordinary peers. Dean Keith Simonton, who studies greatness and genius, finds that whether it comes to songwriters, composers, scientists, programmers, or filmmakers, the top 10 percent generate as much or more output than the other 90 percent.

Connective talents are useless, of course, if people can’t perform the work. And the most talented people in every occupation have huge advantages over their ordinary peers. Dean Keith Simonton, who studies greatness and genius, finds that whether it comes to songwriters, composers, scientists, programmers, or filmmakers, the top 10 percent generate as much or more output than the other 90 percent. The superiority of great bosses is seen in a summary of eighty-five years of research on employee selection methods. Frank Schmidt and John Hunter found that the top 15 percent of professionals and managers produced nearly 50 percent more output than their average peers. The strongest predictors of performance included general mental ability (IQ and similar measures), job sample tests (having people prove they can do the work), and evaluations by peers; other useful predictors included structured employment interviews (where each candidate is asked the same questions in the same order) and conscientiousness (self-discipline and follow-through, similar to grit). These findings provide ammunition for bosses who stock up on the best talent and believe that little else is required. Yet without constructive connections among people, collective performance and humanity is tough to achieve – no matter how many superstars are in the fold.

A great thing about Olympia is that everybody will clap for anything,” songwriter Lois Maffeo, who had a long-running all-girl radio show on the community radio station KAOS, said later. “You could get up and sing some godawful song and everybody would be like, ‘Yeah! Good for you, that’s so excellent!

My advice to you is to change your basic relationship to songwriting. You are not the ‘Great Creator’ of your songs, you are simply their servant, and the songs will come to you when you have adequately prepared yourself to receive them. They are not inside you, unable to get out; rather, they are outside of you, unable to get in. Songs, in my experience, are attracted to an open, playful and motivated mind. Throw my song away – it isn’t that good anyway – sit down, prepare yourself and write your own damn song. You are a songwriter. You have the entire world to save and very little time to do it. The song will find its way to you. If you don’t write it, someone else will. Is that what you want? If not, get to it.

Dylan’s antagonism towards critical opinion has never been complete. Naturally, he has thought of his work as being regarded as ‘up there with the greats’. Talking to Robert Shelton, Dylan remarked that: “Until Bringing It All Back Home song-writing was a sideline. I was still a performer. Then I knew I had to write songs… Get some of those literary people, some of those poetry people to sit down with my records … that would be good.” This was soon after declaring “I never dug Pound or Eliot. I dig Shakespeare”, in Spring 1966.35

was really a lot to do with, once again, fucking around with the tunings. I found these chords, especially doing it on a twelve-string to start with, which gave the song this character and sound. There’s a certain forlornness that can come out of a twelve-string. I started off, I think, on a regular six-string open E, and it sounded very nice, but sometimes you just get these ideas. What if I open tuned a twelve-string? All it meant was translate what Mississippi Fred McDowell was doing—twelve-string slide—into five-string mode, which meant a ten-string guitar. I now have a couple custom built for that. It was one of those magical moments when things come together. It’s like “Satisfaction.” You just dream it, and suddenly it’s all in your hands. Once you’ve got the vision in your mind of wild horses, I mean, what’s the next phrase you’re going to use? It’s got to be “couldn’t drag me away.” That’s one of the great things about songwriting; it’s not an intellectual experience.

Lots of artists wonder how to get a record deal, as though everything is easy street after that one hurdle is cleared. The fact of the matter is that if you need a record deal, you won’t get one—at least not anymore. Today, being a talented singer, a great songwriter, or an innovative composer just isn’t enough to land a major label deal. Today’s labels are looking for safe bets with proven track records of ticket sales. In fact, most of the great artists from the past that we love probably would not have gotten record deals in today’s market. It’s important to understand this because many assume that record deals are just awarded to the most talented individuals. The modern-day record industry excels at expanding upon existing commercial success, but it’s no longer interested in nor deft at scooping up raw, unknown talent and sculpting superstars.

the best commercial songs have an appeal to the masses because they contain an innate truth, a connection that cannot be denied, whether it is a groove that has an immediate physical effect or a lyric so perfectly wedded to music that an emotional reaction invariably occurs.

When you are in this state, you walk with poets, saints, and revolutionaries—anyone who has ever been forced out of his or her customary life by sudden loss and was made stronger by it. These great souls are your compadres now, and they include our greatest poets, sages, musicians, and artists. Identify your own brothers and sisters of the Dark Night. They’re definitely out there. Ask yourself: Of the songwriters, painters, saints, and revolutionaries I know of, which ones experienced what I am experiencing now and returned to teach about it? Whose art or life expresses what I feel? Who has encountered the Dark Night and faced it with the kind of courage and openness I aspire to?

The truly great songs, the ones that age and golden-oldies radio stations cannot wither, are about our romantic feelings. And this is not because songwriters have anything to add to the subject; it’s just that romance, with its dips and turns and glooms and highs, its swoops and swoons and blues, is a natural metaphor for music itself.

Ironically, the resilience and greatness of America may never be accentuated more than by its ability to withstand the unprecedented corruption of Donald Trump.

In fact, there were no movie stars in view, though Finian himself was a talent star, one of the last of the Golden Age, Fred Astaire. He hadn’t filmed a musical since Silk Stockings, in 1957, but it was a frustrating return, for Astaire felt Coppola had no feeling for the form. And Coppola didn’t—not the form of musical Astaire was used to making. For instance, some of the show’s many dance sequences became choreography by other means—a festive picnic with a tug-of-war and other contests for “If This Isn’t Love.” Then, too, Astaire was working with his old RKO assistant, Hermes Pan, who was suddenly fired from the picture, offending Astaire’s deep-rooted sense of loyalty—to his profession, to the great songwriters who had made songs on him, and to his colleagues. Still, the movie flows along nicely with a likable confidence, not easy to bring off when the plot takes in a pot of gold that grants wishes.

Liquor Vicar is like a weekend I have always wanted to have. Filled with fun, crazy people on an adventure that no one could imagine. Well, no one other than Vince, I guess. Turns out one of my favourite drummers will become one of my favourite novelists, too. Ain’t life grand that way?” Alan Doyle, author of ‘Where I Belong’ and ‘A Newfoundlander in Canada: Always Going Somewhere, Always Going Home’, singer, songwriter, actor and founding member of Great Big Sea.

The spark of the idea was hope; the work that led to the song was faith; the completion of the song leads to worship, because in that startling moment of clarity when the song exists in time and history and takes up the narrative space in the story of the world—a space that had been empty, unwritten, unknown by all who are subject to time—then it is obvious (and humbling) that a great mystery is at play. I hope it's clear that I'm not talking about the quality (or lack thereof) of the song itself. That's irrelevant. The point is, time is unfolding like a scroll, and we're letters on the parchment, helping to make up the words that tell the story. Each of us is a character, in both senses of the word. At times, characters become aware that they're part of a story, and that brings the realization, first, there is an author, and second, they are not him. This realization is good and proper, and leads into the courts of praise, if not the throne room itself.

Every great song can be stripped down to its bare bones and it will still work as a SONG. This is the essence of songwriting.

The greatest are the poet who has failed, the songwriter who has lost, the warrior whose wounds have not healed, and the explorer who still seeks but does not know.

A bad song gives music a bad name.

Southern Literary Messenger, that old Village denizen Edgar Allan Poe had made a different kind of prophetic guess. As an attempt pre-emptively to render redundant most of the nonsense that would be written about Dylan and poetry, it has not been bettered. There are few cases in which mere popularity should be considered a proper test of merit; but the case of song-writing is, I think, one of the few. In speaking of song-writing, I mean, of course, the composition of brief poems with an eye to their adaptation for music in the vulgar sense. In this ultimate destination of the song proper, lies its essence — its genius. It is the strict reference to music — it is the dependence upon modulated expression — which gives to this branch of letters a character altogether unique, and separates it, in great measure and in a manner not sufficiently considered, from ordinary literature; rendering it independent of merely ordinary proprieties; allowing it, and in fact demanding for it, a wide latitude of Law; absolutely insisting upon a certain wild license and indefinitiveness — an indefinitiveness recognized by every musician who is not a mere fiddler, as an important point in the philosophy of his science — as the soul, indeed, of the sensations derivable from its practice — sensations which bewilder while they enthral — and which would not so enthral if they did not so bewilder.