Sound Of Music Lyrics Quotes

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When I find myself in times of trouble, mother Mary comes to me, speaking words of wisdom, let it be. And in my hour of darkness she is standing right in front of me, speaking words of wisdom, let it be. Let it be, let it be, let it be, let it be. Whisper words of wisdom, let it be. And when the broken hearted people living in the world agree, there will be an answer, let it be. For though they may be parted there is still a chance that they will see, there will be an answer. let it be. Let it be, let it be, ..... And when the night is cloudy, there is still a light, that shines on me, shine until tomorrow, let it be. I wake up to the sound of music, mother Mary comes to me, speaking words of wisdom, let it be. Let it be, let it be, .....
Paul McCartney
Music is storming, driving, relentless, devotional, slinky, subtle, heartbreakingly-beautiful sounds that, lyrically, switch from the cynical to the sanguine, the defeated to the defiant, dealing in love, war, beauty, children, romance, rejection, Pethedine, poetry, panties, God, Auden, Johnny Cash, cold potatoes, too-much-money, not enough money, writer’s block, flowers, animals and more flowers. But maybe I’m projecting here.
Nick Cave
Is that why you play the music so loud? A beat to drown out the thoughts, sound so high you cannot think, lyrics so close to home you don’t even blink.
Courtney Peppernell (Pillow Thoughts)
There are beautiful sounds in rock. Very lazy, dreamlike noises. You can forget about the lyrics in most songs. Just dig the noise, and you've got your sound...We're musical primitives.
Andy Warhol
Funny how a melody sounds like a memory.
Eric Church
Music replays the past memories, awaken our forgotten worlds and make our minds travel.
Michael Bassey Johnson
I miss the sound of your voice And I miss the rush of your skin And I miss the still of the silence As you breathe out and I breathe in
Matt Nathanson
Climb every mountain, Ford every stream, Follow every rainbow, 'Till you find your dream. A dream that will need All the love you can give, Every day of your life For as long as you live
Rodgers & Hammerstein (The Sound of Music)
Is that why you play music so loud? A beat to drown out the thoughts, sound so high you cannot think, lyrics so close to home you don't even blink.
Courtney Peppernell (Pillow Thoughts (Pillow Thoughts, #1))
sometimes music isn't just a bunch of sounds and lyrics, sometimes it's more than that: a time machine...
Alina Radoi
Music, brings the soul alive. Music promotes wellness and sound mind.
Lailah Gifty Akita (Think Great: Be Great! (Beautiful Quotes, #1))
Over thinking, over analyzing separates the body from the mind. Withering my intuition leaving all these opportunities behind. Feed my will to feel this moment urging me to cross the line. Reaching out to embrace the random. Reaching out to embrace whatever may come. I embrace my desire to feel the rhythm, to feel connected enough to step aside and weep like a widow to feel inspired, to fathom the power, to witness the beauty, to bathe in the fountain, to swing on the spiral of our divinity and still be a human. With my feet upon the ground I lose myself between the sounds and open wide to suck it in. I feel it move across my skin. I'm reaching up and reaching out. I'm reaching for the random or what ever will bewilder me. And following our will and wind we may just go where no one's been. We'll ride the spiral to the end and may just go where no one's been. Spiral out. Keep going...
Tool
The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.
Jay-Z (Decoded)
But he played music so loudly he could not hear his pain. He stunted his growth beneath a bass that decorated his aura and lyrics that hardened the glass parts of him. He was indeed an autumn leaf dipped in concrete. He wanted sound, any sound but his own thoughts. Ears that needed songs louder than the mind were ears afraid of what they might hear inside.
Kristian Ventura (A Happy Ghost)
Music is exciting and easy to enjoy, the rhythm and voice. It does not need interpretation. That is why it is called the Universal Language.
Ellen J. Barrier (The Price We Must Pay for Our Father's Sins (Volume 1 and 2))
According to Lacey I had the lyrics all wrong. I sang like it sounded to me, because those words sounded right: I loved you I'm not going back I killed you I'm not going back.
Robin Wasserman (Girls on Fire)
The sun has gone To bed and so must I
Oscar Hammerstein; Richard Rodgers
Dancers can look at a mirror, a writer can look at a page, and a painter can look at a canvas and see their work reflected back at them. But singers can only hear and feel what they are doing. After all the training, technique, use of breath, and placement of sound, it boils down to an emotional response to music and lyrics---and the way they touch one's heart and soul.
Julie Andrews (Home Work: A Memoir of My Hollywood Years)
We'd appraise each other, in the provisional way that lovers do, by attaching great depth and significance to the provisional. How, after all, do you "know" anyone? You take in certain physical and emotional characteristics that you've aestheticized, ignoring the facts. You listen to what a lover has to say, taking in the erotic music of their sound, their timbre, while dismissing the lyrics.
Dionne Brand (Theory)
He talking Louisiana, you speaking Tennessee. The music so different, the sound coming from a different part of the body. It must of been like hearing lyrics set to scores by two different composers. But when you made love he must of have said I love you and you understood that and it was true, too, because I have seen the desperation in his eyes ever since—no matter what business venture he thinks up.
Toni Morrison (Paradise (Beloved Trilogy, #3))
That was how we spoke, my mother and I: in puns and games and rhymes. In, you might say, lyrics. This was our tragedy. We were language's magpies by nature, stealing whatever sounded bright and shiny. We were tinpan alleycats, but the gift of music had been withheld. We could not sing along, though we always knew the words. Still, defiantly, we roared our tuneless roars, we fell off the high notes and were trampled by the low ones. And if bitter ices were the consequence, well, there were worse fates in the world than that.
Salman Rushdie (The Ground Beneath Her Feet)
Dancers can look at a mirror, a writer can look at a page, and a painter can look at a canvas and see their work reflected back at them. But singers can only hear and feel what they are doing. After all the training, technique, use of breath, and placement of sound, it boils down to an emotional response to music and lyrics---and the way they touch one's heart and soul
Julie Andrews Edwards (Home Work: A Memoir of My Hollywood Years)
And it was, as I remember it, a most exquisite night—a white poem, a frosty, starry lyric of light. It was one of those nights on which one might fall asleep and dream happy dreams of gardens of mirth and song, feeling all the while through one's sleep the soft splendour and radiance of the white moon-world outside, as one hears soft, far-away music sounding through the thoughts and words that are born of it.
L.M. Montgomery (The Golden Road - Classic Illustrated Edition)
I think, when singing, one exposes one’s soul,” I said. “How so?” I struggled to explain. “Dancers can look at a mirror, a writer can look at a page, and a painter can look at a canvas and see their work reflected back at them. But singers can only hear and feel what they are doing. After all the training, technique, use of breath, and placement of sound, it boils down to an emotional response to music and lyrics—and the way they touch one’s heart and soul.
Julie Andrews Edwards (Home Work: A Memoir of My Hollywood Years)
Headphones opened up a world of sonic colors, a palette of nuances and details that went far beyond the chords and melody, the lyrics, or a particular singer’s voice. The swampy Deep South ambience of “Green River” by Creedence, or the pastoral, open-space beauty of the Beatles’ “Mother Nature’s Son”; the oboes in Beethoven’s Sixth (conducted by Karajan), faint and drenched in the atmosphere of a large wood-and-stone church; the sound was an enveloping experience.
Daniel J. Levitin (This Is Your Brain on Music: The Science of a Human Obsession)
Aurora was romantic and brooding and heartbreaking and volatile all at once. In the age of arena rock, Daisy Jones & The Six managed to create something that felt intimate even though it could still play to a stadium. They had the impenetrable drums and the searing solos—they had songs that felt relentless in the best way possible. But the album also felt up close and personal. Billy and Daisy felt like they were right next to you, singing just to each other. “And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway. “But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to. “For every moment of your life, in 1978, Aurora could play in the background. “And from the moment it was released, it was a juggernaut.
Taylor Jenkins Reid (Daisy Jones & The Six)
Have you ever heard the Hungarian national anthem? No? Good for you! I wouldn’t recommend it at all. Unless you are looking for inspiration for your suicide attempt. If it is not just an attempt but you are deadly serious about your suicide then I strongly recommend you not only read the lyrics but listen to the music too. The most mournful funeral song sounds jolly compared to it. Other nations have inspiring anthems like ‘God Save the Queen’ or the ‘La Marseillaise’ or ‘The StarSpangled Banner’, and their lyrics are about victory and proudness like ‘Russia – our sacred homeland, Russia – our beloved country’ or ‘Germany, Germany above everything, Above everything in the world!’ But what about the Hungarian anthem? It starts with ‘O Lord, bless the Hungarian’ and then follow eight long and painful stanzas about our ‘slave yoke’ and ‘funeral urn’ and ‘the corpses of our defeated army’ and ‘groans of death, weeping’ and finally it finishes with ‘Pity, O Lord, the Hungarians they who have suffered for all sins of the past and of the future!’ Yes, of the future too.
Angela Kiss (How to Be an Alien in England: A Guide to the English)
But at least the voices are sexy, not twangy.” “So it’s not what someone says, it’s how they say it?” “Exactly.” My head bobbed in an exaggerated nod. “So I could call you a whore, and tell you to bend over while I snort a line off your sweet ass with a hundred dollar bill before I fuck you, and if I said it in the right voice it would sound sexy to you?” “Pfft … no.” I rolled my eyes. Then, of course, I wondered if the “sweet ass” comment was literal or just a lyrical example. Okay, it might have sounded sexy to me. I wasn’t going to ask him to actually say that in his sexiest voice, but it sure left me thinking about the songs I liked. Then I focused on the actual lyrics … yeah, he could have said that to me and made me want to let him do it. The religious sector was right: music was corrupting young minds, and I was one of them. A unique and catchy beat could make people dance and celebrate some really terrible shit.
Jewel E. Ann (One)
Maybe you are a nihilistic death-metal punk. You are deeply skeptical and pessimistic. You find meaning nowhere. You hate everything, just on principle. But then your favorite nihilistic death-metal punk band lead guitarist and his bandmates start to blast out their patterned harmonies—each in alignment with the other—and you are caught! “Ah, I do not believe in anything—but, God, that music!” And the lyrics are destructive and nihilistic and cynical and bitter and hopeless but it does not matter, because the music beckons and calls to your spirit, and fills it with the intimation of meaning, and moves you, so that you align yourself with the patterns, and you nod your head and tap your feet to the beat, participating despite yourself. It is those patterns of sound, layered one on top of another, harmoniously, moving in the same direction, predictably and unpredictably, in perfect balance: order and chaos, in their eternal dance. And you dance with it, no matter how scornful you are. You align yourself with that patterned, directional harmony. And in that you find the meaning that sustains.
Jordan B. Peterson (Beyond Order: 12 More Rules for Life)
It's true that Lucinda had once spent hours of her own time putting together a research memo on the Canadian rock band Barenaked Ladies, specifically investigating whether then lead singer Steven Page was purposefully singing in a fake American accent for their 1998 hit single "One Week." She'd notice that the song loudly announces itself with the lyric "IT'S BEEN," but the word "been" is pronounced *bin*, which is the American pronunciation, as opposed to the more Canadian way of saying it, *bean*. Even more notably, the oft-repeated lyric "sorry" is also pronounced the American way, *sawry*, instead of a round Canadian *soary*. After scouring the internet for video and audio interviews with Steven Page, she discovered that he did in fact pronounce "been" the Canadian way in casual conversation, which meant he (intentionally or not) was putting on a fake America accent when he recorded the song. Lucinda couldn't find any literature or analysis on this subject, so she was forced to conjure her own theories, which included: a. Steven Page was actively suppressing his Canadian accent because someone told him his music would be more successful worldwide if he sounded more American, b. he was subconsciously suppressing his accent because he'd already internalized this idea, or c. the song itself is sung from the point of view of a character who lives in the United States and is in fact a subtle satire of American culture.
Raphael Bob-Waksberg (Someone Who Will Love You in All Your Damaged Glory)
It doesn’t seem like Christmas. I cannot say just why. I see the gifts and mistletoe and snowflakes falling from the sky. It doesn’t feel like Christmas. Though snow is on the ground. I watch old Rudolph, Frosty too. I serve hot cocoa all around. But still it doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. It doesn’t sound like Christmas. The air is filled with noise. I hear a thousand loud requests yet see unhappy girls and boys. It doesn’t feel like Christmas. Though Santa’s on his way. So why this dullness in my heart as if it’s just another day? It really doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. I close my eyes, I bow my head, and drop down to my knees. I talk to God and bear my soul. At length, my spirit warms with peace. It feels much more like Christmas. My heart o’er flows with love. I look at you through caring eyes, the way God sees from up above. It surely is like Christmas. Good will pervades my soul. For Christ was born in Bethlehem to ransom all; my joy is full. It’s starting now to feel like Christmastime. My heart is new, my outlook more sublime. I’ll love the world as God loves me and practice charity. Help and comfort, share with those in need, and it will feel like Christmastime indeed.
Richelle E. Goodrich (Being Bold: Quotes, Poetry, & Motivations for Every Day of the Year)
Rather, I found through this experience that there is significant similarity between meditating under a waterfall and tidying. When you stand under a waterfall, the only audible sound is the roar of water. As the cascade pummels your body, the sensation of pain soon disappears and numbness spreads. Then a sensation of heat warms you from the inside out, and you enter a meditative trance. Although I had never tried this form of meditation before, the sensation it generated seemed extremely familiar. It closely resembled what I experience when I am tidying. While not exactly a meditative state, there are times when I am cleaning that I can quietly commune with myself. The work of carefully considering each object I own to see whether it sparks joy inside me is like conversing with myself through the medium of my possessions. For this reason, it is essential to create a quiet space in which to evaluate the things in your life. Ideally, you should not even be listening to music. Sometimes I hear of methods that recommend tidying in time to a catchy song, but personally, I don’t encourage this. I feel that noise makes it harder to hear the internal dialogue between the owner and his or her belongings. Listening to the TV is, of course, out of the question. If you need some background noise to relax, choose environmental or ambient music with no lyrics or well-defined melodies. If you want to add momentum to your tidying work, tap the power of the atmosphere in your room rather than relying on music. The best time to start is early morning. The fresh morning air keeps your mind clear and your power of discernment sharp. For this reason, most of my lessons commence in the morning. The earliest lesson I ever conducted began at six thirty, and we were able to clean at twice the usual speed. The clear, refreshed feeling gained after standing under a waterfall can be addictive. Similarly, when you finish putting your space in order, you will be overcome with the urge to do it again. And, unlike waterfall meditation, you don’t have to travel long distances over hard terrain to get there. You can enjoy the same effect in your own home. That’s pretty special, don’t you think?
Marie Kondō (The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing (Magic Cleaning #1))
Dulcet-seeking morning The skies opened without glare from sun rays Raindrops on the window pane continue to fall Chilly morning, cold breeze meets me Prep up the table and placed two coasters Rests a mug for coffee, for an instant treat Peeped in the window and saw the ground is wet all over Chilly wind filled the home as I sat on one corner Pondering how life have been Thankful but a little goosey Warm bliss unfolds as I swipe on phone to see pictures Turned on my music from a lappie Wanting to feel more spirited But heeding only to the sound Not minding about the lyricals this time
Sheryl Nazaret-Casas
However, there were risks in doing this. If there was a lot of drum “leakage”—if the sound of the drummer could be heard on the vocal mic—then every time you made the singer louder to hear a lyric better, the drums would inevitably get louder too. But isolation, which was the solution to this problem, often meant that we later found it hard to play together live. A band would go from being a tight unit to a chaotic mess.
David Byrne (How Music Works)
I loved music. What struck me most about a song wasn’t the lyrics or genre but simply the way it sounded. It’s like when you hear that right song, no matter where you are or what you are doing, the way it sounds just stirs something inside of you. Maybe it’s the melody, the instruments, or the singer’s voice, but for that short moment you forget everything else on your mind and just feel.
J. Aleong (A Most Important Year)
Music is my inspiration. When my brain and music come together they form something unpredictable. It’s the talent that fuels my characters. It’s the scale that feeds my pages. It’s the path in which they walk. It’s the story they have to tell.
Christina Casino
When your heart, mind, and soul cannot control or refuse the desire to create a sound, or lyric, or rhythm, and you are helpless against the burning impulse to purge these inner demons, you are forever committed to a lifetime of chasing the next song.
Dave Grohl (The Storyteller: Tales of Life and Music)
MELANCHOLY SIXTIES She walked endlessly on the deserted road Into the shadows Fear of the unknown held no meaning Fresh leaves the color of fall Lay perfectly at her feet Her hair blowing in the cool breeze She hears the sound of music coming from the bristling of blowing trees Melancholy sixties, I think Such a familiar tune It's going to turn winter soon A dim of light danced on the creek nearby Anxious to get there, She swayed to the lyrics in her mind Playing a memory from when she was small Reckless from the spirit of being free Barely a remembrance of pain from days passed How she buried them in a deep grave Stomped on them with the weight of forgiveness, self-taught It was the hardest lesson of all But it matters none The years have set her free Standing near the shallow creek Lay the fall leaves placed perfectly at her feet Where the sun glistens She hears the sound of music coming from the bristling of blowing trees Melancholy sixties, I think Such a familiar tune It will turn winter soon.
Susan L. Killingsworth
I associate my vagitus with the sound of your music, John Lennon, which continues to ring loud and clear worldwide. The uncommon lyrics you planed down, the charts, the melody, the conviction, the intricacies of loud art, the energy of voluble truth and your profound philosophy all breathe and spell out (next to the silhouette of spiritual balances) your enduring legacies.
Nkwachukwu Ogbuagu
As with The Doors’ ‘The End’, ‘Extra Loveable’ also has an Oedipal theme, albeit reversed, with Prince suggesting that the object of his desire is so sexy and skilled that she will turn his mother lesbian and make his dead father (another clue that the song is fictional) return from the grave to have sex with her. The lyric also includes lines about bathing together which recall ‘The Ballad of Dorothy Parker’, but while the shared bath in that song sounded like the most fun date ever, here he’s threatening to drag an unwilling partner into the tub to violate her.4
Matt Thorne (Prince)
Create a record that accentuates your character the clarity of your voice, lyric, melody & music to become your signature sound. Find a producer that embraces you.
Lisa Goldin (40 Ways To Tame A Musician)
We permit a new future to enter the room with these startling encounters. A young boy from Austin, Texas, Charles Black Jr., stood and knew it when he was just sixteen years old, thinking he was going to a coed social at the Driskill Hotel in his hometown in 1931. It was a dance, the first in a session of four, yet he remained transfixed by an image that he had never seen before. The trumpet player, a jazz musician whom he had not heard of, performed largely with his eyes closed, sounding out notes, ideas, laments, sonnets, “that had never before existed,” he said. His music sounded like an “utter transcendence of all else created.” He was with a friend, a “ ‘good old boy’ from Austin High,” who sensed it too, and was troubled. It rumbled the ground underneath them. His friend stood a while longer, “shook his head as if clearing it,” as if prying himself out of the trance. But Charles Black Jr. was sure even then. The trumpeter, “Louis Armstrong, King of the Trumpet” as it turned out, “was the first genius I had ever seen,” Black said, and that genius was housed in the body of a man whom Black’s childhood world had denigrated. The moment was “solemn.” Black had been staring at “genius,” yes, “fine control over total power, all height and depth, forever and ever,” and also staring at the gulf created by “the failure to recognize kinship.” He felt that Armstrong, who played as if “guided by a Daemon,” all “power” and lyricism, “opened my eyes wide, and put to me a choice”—to keep to a small view of humanity or to embrace a more expanded vision—and once Black made that choice, he never turned back. This is what aesthetic force can do—create a clear line forward, and an alternate route to choose.
Sarah Lewis (The Rise: Creativity, the Gift of Failure, and the Search for Mastery)
Pretend mic in hand, she danced into the bedroom, singing Rod Stewart's "Do Ya Think I'm Sexy." She executed a few dance steps she'd read about in books on modern dance. Losing herself to the groove of the music, she swayed and gyrated as she belted out the lyrics. She toed off her shoes and shimmied out of her jeans, bending to slip them over her feet... "I'm thinking this is a sight and a sound I could get used to.
Vonnie Davis (A Highlander's Obsession (Highlander's Beloved, #1))
Outer influences and distractions Consider the power of external influences to condition your life experience. Spend a day watching how what you encounter impacts your attitude and spirit. Pay attention to what is usually mere background noise. Probe all sights, sounds, and touches as life swirls about. Listen to the radio carefully. Study the comments on talk shows. Listen to popular music lyrics and rhythms. Pay attention to words and worldview, tones and timbre. What and how do you feel as a result? Watch people at a shopping mall. How many appear trim and in vibrant health? How many look happy? What are people wearing and how are they groomed? What does their appearance suggest about your community’s values? Does the appearance of others affect how you feel? Chat with coworkers. What comes up about the economy, government, and company management? Suggest changes in attitudes and actions for more happiness or productivity. What kind of responses do they give you? Look at Internet discussions and news. What is the tone and logic of the posts? Does the commenters’ passion reflect their intellectual depth and degree of knowledge? How many stories are negative and how many are positive? Could any of the negative stories be written with a positive spin and still remain true? How do you feel about what you observe? Is it possible that even if you had not been paying close attention, those experiences out on the margin of awareness might have affected your mood or attitude?
Stephen K. Hayes (Heart of Light, Blade of Thunder)
Maybe I'm overcast. And maybe all my lucks washed down the drain.
Switchfoot (Switchfoot: Nothing Is Sound)
is the strength of the songwriting. Dark Side contained strong, powerful songs. The overall idea that linked those songs together – the pressures of modern life – found a universal response, and continues to capture people’s imagination. The lyrics had depth, and had a resonance people could easily relate to, and were clear and simple enough for non-native-English speakers to understand, which must have been a factor in its international success. And the musical quality spearheaded by David’s guitar and voice and Rick’s keyboards established a fundamental Pink Floyd sound. We were comfortable with the music, which had had time to mature and gestate, and evolve through live performances – later on we had to stop previewing work live as the quality of the recording equipment being smuggled into gigs reached near-studio standards. The additional singers and Dick Parry’s sax gave the whole record an extra commercial sheen. In addition, the sonic quality of the album was state of the art – courtesy of the skills of Alan Parsons and Chris Thomas. This is particularly important, because at the time the album came out, hi-fi stereo equipment had only recently become a mainstream consumer item, an essential fashion accessory for the 1970s home. As a result, record buyers were particularly aware of the effects of stereo and able to appreciate any album that made the most of its possibilities. Dark Side had the good fortune to become one of the definitive test records that people could use to show off the quality of their hi-fi system. The packaging for the album by Storm and Po at Hipgnosis was clean, simple, and immediately striking, with a memorable icon in the shape of the prism.
Nick Mason (Inside Out: A Personal History of Pink Floyd (Reading Edition): (Rock and Roll Book, Biography of Pink Floyd, Music Book))
One day I become curious and look up the translation of the song’s lyrics. It turns out that Rodrigo Martinez/My Penis is a Spanish madman who believes his geese are his oxen, confusing animals who make music for animals who perform hard labor: Rodrigo Martinez, he’s after the geese again, Hey! He thinks they are his oxen, so he whistles at them, Hey! Rodrigo Martinez, what a dashing fellow! With his flock of goslings, to the riverside they go, Hey! He thinks they are his oxen, so he whistles at them, Hey!
Jessica Chiccehitto Hindman (Sounds Like Titanic)
At last Stuart looked away from Helen and back to the piano as he picked up on Helen’s cue. In the Mood filled the small living room the way fragrance fills a garden after rain. Helen felt almost tipsy, perhaps from the music or the look Stuart had given her, or because people so rarely dance without being tipsy. Lyric bounced on Helen’s hip, the girl’s thin legs bopping against Helen’s body. Then as Helen swung and spun the child over the rug, the most remarkable thing happened. It started like a freshly sprung leak, then the moment before it came, Helen saw it in Lyric’s eyes. The leak busted, a water main of laughter bursting and arching into the room. Lyric’s laugh was the most beautiful sound Helen had ever heard. Her first thought was that Mum had been right—there is magic on this earth, and at last Helen had found it, hiding, inside this little girl. To Helen, it felt as though she'd spent so many days in the cold of winter, and was now hearing the birds return.
Corinne Beenfield (The Ocean's Daughter : (National Indie Excellence Award Finalist))
Music tells us things—social things, psychological things, physical things about how we feel and perceive our bodies—in a way that other art forms can’t. It’s sometimes in the words, but just as often the content comes from a combination of sounds, rhythms, and vocal textures that communicate, as has been said by others, in ways that bypass the reasoning centers of the brain and go straight to our emotions. Music, and I’m not even talking about the lyrics here, tells us how other people view the world—people we have never met, sometimes people who are no longer alive—and it tells it in a non-descriptive way. Music embodies the way those people think and feel: we enter into new worlds—their worlds—and though our perception of those worlds might not be 100 percent accurate, encountering them can be completely transformative.
David Byrne
The next week, Finian’s Rainbow began a twelve-week filming schedule. Jerry Jackson recalled that when Coppola was unhappy with Pan’s choreography he would ask him (Jackson) to change it rather than approach Pan directly—so poor was the working relationship between director and choreographer. Michael Goodwin and Naomi Wise suggest that the tension between them may have had less to do with Pan’s work and more to do with the challenge he presented to Coppola’s authority: “Coppola described Pan as ‘a disaster.’ That probably means that Pan disagreed with him or insisted that the camera serve the choreography, not vice versa, or asked for more rehearsal time for the numbers” (Goodwin 1989, 79). After the filming of “That Great Come-and-Get-It Day” in which Pan makes his final on-screen appearance shining shoes in a barbershop vignette, his twenty-week guarantee was up and he was released from the film. Since Jackson refused to stay on after Pan left, a young choreographer named Claude Thompson was hired to stage the remaining numbers. Even before Pan had been released, his work was subverted by Coppola who continually interrupted the choreography with cutaway shots of vignettes that were neither entertaining nor dramatically effective. The director had no choreographic training or experience and staged musical numbers based on concepts that often had no relationship to the sound of the music or the sense of the lyrics. For example, he filmed “Something Sort of Grandish” on a hill with Petula Clark hanging white bed sheets on a clothesline and conceptualized “If This Isn’t Love” as a series of children’s games. The director’s method of staging was little more than playing the music for a dance routine and telling the actors to “move with
John Charles Franceschina (Hermes Pan: The Man Who Danced with Fred Astaire)
The next week, Finian’s Rainbow began a twelve-week filming schedule. Jerry Jackson recalled that when Coppola was unhappy with Pan’s choreography he would ask him (Jackson) to change it rather than approach Pan directly—so poor was the working relationship between director and choreographer. Michael Goodwin and Naomi Wise suggest that the tension between them may have had less to do with Pan’s work and more to do with the challenge he presented to Coppola’s authority: “Coppola described Pan as ‘a disaster.’ That probably means that Pan disagreed with him or insisted that the camera serve the choreography, not vice versa, or asked for more rehearsal time for the numbers” (Goodwin 1989, 79). After the filming of “That Great Come-and-Get-It Day” in which Pan makes his final on-screen appearance shining shoes in a barbershop vignette, his twenty-week guarantee was up and he was released from the film. Since Jackson refused to stay on after Pan left, a young choreographer named Claude Thompson was hired to stage the remaining numbers. Even before Pan had been released, his work was subverted by Coppola who continually interrupted the choreography with cutaway shots of vignettes that were neither entertaining nor dramatically effective. The director had no choreographic training or experience and staged musical numbers based on concepts that often had no relationship to the sound of the music or the sense of the lyrics. For example, he filmed “Something Sort of Grandish” on a hill with Petula Clark hanging white bed sheets on a clothesline and conceptualized “If This Isn’t
John Charles Franceschina (Hermes Pan: The Man Who Danced with Fred Astaire)
The wind announces itself through my open bedroom window. Sheet music is blown face down onto my floor, but the birds outside sing it from memory. Accompanying them are four steady-sounding knocks on my door, very evenly spaced, about mezzo-piano, my mom must be practicing drums too. "Let's leave now, so we get a good view for the parade," my mom adds lyrics through the closed door.
Patrick R.F. Blakley (Drummond: Learning to find himself in the music)
Enjoy your youth sounds like a threat But I will anyway
Regina Spektor (Regina Spektor - Remember Us to Life)
Hip-hop had begun to play a special role in my life. It wasn't just music and lyrics. It was a validator. In my struggle to reconcile my two worlds, it was an essential asset...But even more than that, I found in hip-hop the sound of my generation talking to itself, working through the fears and anxieties and inchoate dreams - of wealth or power or revolution or success - we all shared. It broadcast an exaggerated version of our complicated interior lives to the world, made us feel less alone in the madness of the era, less marginal.
Wes Moore (The Other Wes Moore: One Name, Two Fates)
My interest in these bands had as much to do with their sound and their look as it did with their do-it-yourself, or DIY, ethos and anarchist politics. It wasn’t about money for them. They sought revolution and freedom, and they approached making music as an act of political protest. These bands wanted to empower their audiences. I studied their lyrics, and, like them, I was fine with starving for my ideals. Fuck MTV and fuck major labels. Fuck commercial art. Fuck the whole capitalist system! I wanted nothing to do with any of it. All of these new records and cassettes I was discovering made music seem accessible in a way it had never been before.
Laura Jane Grace (Tranny: Confessions of Punk Rock's Most Infamous Anarchist Sellout)
He would buy me a pair of headphones if I would promise to use them when he was home. Those headphones forever changed the way I listened to music. The new artists that I was listening to were all exploring stereo mixing for the first time. Because the speakers that came with my hundred-dollar all-in-one stereo system weren’t very good, I had never before heard the depth that I could hear in the headphones—the placement of instruments both in the left-right field and in the front-back (reverberant) space. To me, records were no longer just about the songs anymore, but about the sound. Headphones opened up a world of sonic colors, a palette of nuances and details that went far beyond the chords and melody, the lyrics, or a particular singer’s voice. The swampy Deep South ambience of “Green River” by Creedence, or the pastoral, open-space beauty of the Beatles’ “Mother Nature’s Son”; the oboes in Beethoven’s Sixth (conducted by Karajan), faint and drenched in the atmosphere of a large wood-and-stone church; the sound was an enveloping experience. Headphones also made the music more personal for me; it was suddenly coming from inside my head, not out there in the world. This personal connection is ultimately what drove me to become a recording engineer and producer. Many years later, Paul Simon told me that the sound is always what he was after too.
Daniel J. Levitin (This Is Your Brain on Music: The Science of a Human Obsession)
Buy Spotify Accounts Our Services We offer a 100% approved account. Our account is active and functionally working. It is completely verified. It is a premium group account. Ready to use. Instant Delivery. Full Documents Verified. Used valid IP. Full verifications. USA, UK, CA, AU, Country Available We offer 24/7 customer service. If you want to more information just contact now. 24 Hours Reply/Contact ✅E-mail: support@reviewshopusa.net ✅Telegram: @ReviewShopUSA ✅Skype: ReviewShopUSA ✅WhatsApp: +1 (207) 613-6818 Buy Spotify Accounts – Elevate Your Music Journey In today’s world, Spotify is a powerhouse in music streaming, offering millions of tracks, podcasts, and personalized playlists at your fingertips. Whether you’re an aspiring artist, a music enthusiast, or someone looking to leverage Spotify for business, having access to premium accounts can transform your experience. At ReviewShopUSA.net, we provide a seamless and secure way to buy Spotify accounts, ensuring top-notch quality and unparalleled service. Why Buy Spotify Accounts? Spotify accounts aren’t just about accessing music – they’re a gateway to an enhanced, ad-free experience. Here’s why purchasing Spotify accounts can be a game-changer: If you want to more information just contact now. 24 Hours Reply/Contact ✅E-mail: support@reviewshopusa.net ✅Telegram: @ReviewShopUSA ✅Skype: ReviewShopUSA ✅WhatsApp: +1 (207) 613-6818 Unlimited Music Streaming With a Spotify Premium account, you get access to millions of songs without interruptions. Say goodbye to pesky ads and hello to uninterrupted jams, whether you’re at work, hitting the gym, or relaxing at home. Offline Playback Premium Spotify accounts let you download tracks and playlists to enjoy offline. This feature is perfect for those who travel frequently or face unreliable internet connectivity. High-Quality Audio Spotify Premium offers high-definition audio quality, making every beat and lyric come alive. Music lovers will appreciate the crystal-clear sound that enhances every listening session. Curated Playlists Enjoy expertly curated playlists tailored to your taste, mood, or activity. From workout anthems to soulful acoustic hits, Spotify delivers a personalized music experience like no other. Cost-Effective for Businesses and Individuals Artists, influencers, and marketers can use Spotify accounts to expand their audience, promote content, and build brand awareness. Buying accounts in bulk is an affordable and effective way to boost engagement. Why Choose ReviewShopUSA.net for Spotify Accounts? At ReviewShopUSA.net, we prioritize quality, authenticity, and customer satisfaction. Here’s what sets us apart: 100% Authentic Accounts All Spotify accounts we offer are genuine and verified. Whether you’re looking for individual accounts or bulk purchases, we ensure authenticity and reliability. Affordable Prices Enjoy premium features at competitive rates. Our flexible pricing plans cater to everyone – from individual users to businesses needing bulk Spotify accounts. Secure Transactions Your security is our priority. We use encrypted payment gateways to protect your personal and financial information during every transaction. Fast Delivery Once you make your purchase, we ensure swift delivery of your Spotify accounts. Get started on your enhanced music journey without unnecessary delays. Dedicated Customer Support Our responsive customer support team is available to assist you with any queries or issues. Whether you need help choosing a package or troubleshooting an account, we’re here for you 24/7. Types of Spotify Accounts We Offer At ReviewShopUSA.net, we provide various Spotify account options to cater to your unique needs: Individual Premium Accounts Perfect for personal use, these accounts offer uninterrupted music streaming, offline downloads, and high-quality au
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In his own words Adorno said his music was Stalinist or Fascist and he used “big concepts to see if they sound right and fit the data.” In these words can be found the key to why he was engaged by Tavistock to write music based on the 12-atonal system of music that “sounded right” and he then “fit the data” namely, he wrote the lyrics to match, so that what emerged was an 18 album set he wrote for the Beatles. Underlying the whole Beatle music concept was Adorno’s long held belief that capitalism was evil, because it “fed the people with products of a culture industry to keep them passively satisfied and politically apathetic.” His “Beatle 12-atonal music” would throw a wrench into the works of the world’s biggest capitalist state, the United States of America.
John Coleman (The Conspirator's Hierarchy: The Committee of 300)
Milton passed through the gate and walked towards the centre. A group of youngsters had congregated around one of the park benches. One of their number was showing off on his BMX, bouncing off the front wheel as the others laughed at his skill. Milton assessed them coolly. There were eight of them, mid-teens, all dressed in the uniform: caps beneath hoodies, baggy jeans and bright white trainers. He kept walking. As he drew closer, he heard the sound of music being played through the reedy speaker of a mobile phone. It had a fast, thumping beat and aggressive lyrics. The rapper was talking about beefs and pieces and merking anyone who got in his way. One of the group sauntered out from the pack and blocked his path.
Mark Dawson (The Cleaner (John Milton, #1))
Unfolding according to the contemplative logic of their lyrical orbits, Astral Weeks’s songs unhooked themselves from pop’s dependence on verse/chorus structure, coasting on idling rhythms, raging and subsiding with the ebb and flow of Morrison’s soulful scat. The soundworld – a loose-limbed acoustic tapestry of guitar, double bass, flute, vibraphone and dampened percussion – was unmistakably attributable to the calibre of the musicians convened for the session: Richard Davis, whose formidable bass talents had shadowed Eric Dolphy on the mercurial Blue Note classic Out to Lunch; guitarist Jay Berliner had previous form with Charles Mingus; Connie Kay was drummer with The Modern Jazz Quartet; percussionist/vibesman Warren Smith’s sessionography included Miles Davis, Aretha Franklin, Nat King Cole, Sam Rivers and American folk mystics Pearls Before Swine. Morrison reputedly barely exchanged a word with the personnel, retreating to a sealed sound booth to record his parts and leaving it to their seasoned expertise to fill out the space. It is a music quite literally snatched out of the air.
Rob Young (Electric Eden: Unearthing Britain's Visionary Music)
Smiling to myself, I pictured our family one sunny afternoon last fall. It had been a warm day, and we were on our way to the city aquarium. Dad had the car windows rolled down, and I recalled the feel of the wind in my hair and the scent of Mom’s perfume wafting from the seat in front of me. Mom and Dad were chatting and I was scrolling through my Instagram feed. But the moment the song sounded on the radio, I squealed. “Turn it up!” I said, leaning forward in my seat, enough that the belt tightened across my chest. As soon as Dad reached over and turned the knob, I started singing the lyrics aloud. Both Mom and Dad joined in. With the wind in my hair and the music filling the car, a warmth had filled my insides, almost as if I were wrapped in my favorite fuzzy blanket. The memory was fresh in my mind and I could still see Mom’s head bob up and down as she sang while Dad tapped his fingers on the steering wheel. “Come on, Dad!” I said, giggling. “Sing with us.” He glanced over his shoulder at me. “I’m waiting for my favorite part. I don’t want to stretch my singing muscles.” “What singing muscles?” Mom smiled at him. He put a finger in the air for her to wait. “Here we go.” When the chorus of the song began, Dad screeched out the lyrics in a really high voice. He was trying to mimic the singer’s voice but he wasn’t even close and the sound he made was terrible. I burst out laughing. He ignored me and continued to sing, all the while, waving a hand through the air with wide flourishes, as if conducting an orchestra. He tilted his head back and belted out the high notes. When we pulled up at a red traffic light and the car slowed to a stop, Dad was oblivious of the carload of people alongside us watching him. The passengers of the other car had their windows open too and I stared at them in horror. Their eyes were glued to Dad and they shook their heads and rolled their eyes. “Dad!” I called to him. “Those people are watching you.” But he didn’t hear me and continued to sing. I sank into my seat, my cheeks flushing. He finally realized he had an audience but instead of being embarrassed, he waved to them. “Hello, there!” he said. “Did you enjoy my singing?” The light turned green, and the carload of people cracked up laughing as their car lurched forward in their hurry to escape the weird man in the car next to theirs. Dad shrugged. “I guess not.’ Mom and I burst out laughing too, unable to hold it in any longer. Dad waved a dismissive hand. “They wouldn’t know good music if it hit them in the face.” Tears sprang from my eyes because I was laughing so hard. My dad could be so embarrassing sometimes, but that day, it didn’t bother me at all. Dad had always managed to make me laugh at the silliest things. He had a way of making me feel happy, regardless of what mood I was in. Deep down I thought he was a really cool dad. My friends thought so too. He wasn’t boring and super strict like their dads. He was fun to be around and everyone loved him for it, including my friends. Our little family was perfect, and I wouldn’t have changed it for the world.
Katrina Kahler (The Lost Girl - Part One: Books 1, 2 and 3: Books for Girls Aged 9-12)
We are born with a natural delight in the music of language. As infants we coo and babble and let consonants roll around in our mouths like mother’s milk. As young children, we invent words, mash syllables together, and delight in nonsensical lines. We let ourselves be lulled to sleep by the playful rhymes of Mem Fox (“It’s time for bed, little goose, little goose, / The stars are out and on the loose”). We seek out stories with fanciful sounds (“Quickberry / Quackberry / Pick me a blackberry”). We begin to sense the link between what’s on the surface, and what’s under it (“I meant no harm. I most truly did not. / But I had to grow bigger. So bigger I got. / I biggered my factory. I biggered my roads. / I biggered my wagons. I biggered the loads”). As we mature, our delight in the music of words goes a bit underground, but it’s still there. We repeat not just Chaucer’s prologue, but also advertising jingles. We let brand names like Chunky Monkey and SurveyMonkey tumble off our tongues. We appreciate the curt sentences of Hemingway as well as those that are long and loose and lyrical. We let ourselves be moved by the moral authority of Nelson Mandela. We follow the Dalai Lama on Facebook. We let Chris Christie voice our outrage after a hurricane, Barack Obama our sorrow after a massacre of children. Language remains an adventure, if sometimes a somewhat mysterious one: We are drawn to reliable narrators and find that metaphors lift us. We are transported by soaring vowels. The cadence of sentences acts on us like the rhythm of an ancient drum. The music of language leads us to meaning, to our own humanity.
Constance Hale (Sin and Syntax: How to Craft Wicked Good Prose)
I wasn’t expecting to read a paragraph that encouraging when I started that book. I suspect a businessman would read that paragraph and wonder what all the fuss is about. It might sound an awful lot like complaining. But it isn’t. I sighed a weary, happy sigh because Dahl assured me I’m not as crazy or as wimpy as I’m afraid I am. The same can be said for songwriting too. God has arranged the process (for me, at least) in such a way that after every song is complete, I get amnesia. I think, in the fast-fading thrill of having written a song, that I’ve finally unlocked the secret formula, discovered the missing number, solved the timeless mystery of how to write a song. I have at last answered for myself the question of whether the music or the lyrics come first! And the answer is—wait, I had it a second ago. What was it again? And it’s gone. Even as the last note fades to silence, amnesia sets in. I can’t remember how it works. So the next time I pick up the guitar or open the notebook, I do so with fear and trembling, unsure how to proceed. I’m starting from zero.
Andrew Peterson (Adorning the Dark: Thoughts on Community, Calling, and the Mystery of Making)
I’m so fucking grateful for his existence, for being my brother, my true family. Now’s not the place in my story for this but shit, damnit, fuckit, when he started writing lyrics over my bass lines his artistry gave me new life. My heart grew a couple of sizes. The color of his words, the sharp sound of the syllables cracking together. Both his lyrics and my bass lines pulsed together, same as the heartbeat of our friendship. It was the conversation we’d started in the Fairfax gymnasium translated into music. When his words met my grooves they flowed together unconsciously, like they’d always been together, like baby wolf twins bursting out of the dark den of their infancy, joyfully embracing the infinite light of the outside world for the first time. When he wrote “Green Heaven,” a long and dynamic rap narrative over our hard funk, I was on the phone for hours, trembling with emotion, calling everyone I knew and excitedly reciting the entire song.
Flea (Acid for the Children: A Memoir)
Always choose the noise of music... always end the day in singing!
Will Oldham (Songs of Love and Horror: Collected Lyrics of Will Oldham)
Simple linear logic, in which principles come first and deductions follow, is not very useful when it comes to comprehending a vidya, because the sages who developed these vidyas employed an entirely different mode of thinking. 'They thought rather in terms of what we might call a fugue, in which all the notes cannot be constrained into a single melodic scale, in which one is plunged directly into the midst of things and must follow the temporal order created by their thoughts' (de Santillana, p. xi). Probably the most essential condition for becoming a capable jyotishi, which happens to be the most difficult one for the average Westerner to fulfill, is to learn how to think in this holistic, non-linear way. Because it is also very difficult to write or teach non-linearly - it is simply impossible to 'square the circle' - imperfections in books on Jyotish that are written in modern languages are inevitable. One reason why Jyotish's texts are written in Sanskrit is that Sanskrit helps facilitate holistic thought. The Seers taught that Sanskrit's very sounds are sacred, and they held that Sanskrit (when properly intoned) speaks directly to the soul of living creatures, transmitting, as does music, a universal meaning which does not depend on its composition or lyrics. Because the essence of the Vedas is believed to be transferred to the listener when Vedic hymns are recited correctly, the Vedas must be studied vocally in their original Sanskrit if they are to be truly understood. This also applies to the Vedas' satellite vidyas such as Jyotish and Ayweda (India's traditional medical system). Other languages may convey the vidyas' theoretical meaning, but only Sanskrit captures and conveys their quintessence. Anyone who wishes to become a master jyotishi must eventually possess and be posscsscd by Sanskrit, and although theoretical or book learning can be helpful, Sanskrit, like Jyotish, can only be truly learned orally from a competent teacher.
Róbert Svoboda (Light On Life)
If you hurl outside?” From his far-off hidey-hole, Dave was directing, not asking. “Shovel it up and put it in the trash. I don’t want my dogs to get to it because it’s whatever you ate plus the shrooms and they’ll gobble it all up and freak the fuck out.” “I promise you. I won’t throw up,” Flynn heard Allison groan before her vomit hit the kitchen sink. “Outside.” “It’s cold out there, honey,” LA Tina said with a deep, soothing voice. “Someone grab up all that pretty blonde hair so it don’t get puked on.” As Flynn fully immersed himself in the music, the merry-go-round in the song was spinning sound and vision around him. Mushrooms were coming on quickly, powerfully, puckering his saliva glands and twisting his stomach into knots. Unsure if he’d actually made it to the bathroom, he was relieved when he saw his emesis kaleidoscopically stewing in the sink. Opening the spigot to wash the corruption down the drain, he splashed cold water on his face as he watched his eyes lit like fires from faraway camps, lips pushing the folds of his cheeks into reiterative grins. A timeless face reminded him of who he was and what resided within him as water drizzled down his chin and swirled into the drain. Emerging back into the rest of the world, a melodic hum hung just above his head. He found his way back to where the notes fully unfurled the song’s motif. Throwing himself into an air-guitar stance, he grimaced as he acted bending out the first, bluesy guitar note. Sparking and glowing like a welding rod, the room around him blazed with his light. Emma leered and licked her lips after glugging down a huge swig of Flynn pretending to be Pink Floyd. Tall, thin, somewhat handsome and exotic in his urbanity, Flynn was poised in a way Pogoner boys could never be. Something about him prickled wildly on her skin and excited her. Gliding from the kitchen to where he rocked, arms raised to reveal her Venus form, she sashayed with dabs of riffing blues, synthesizers scaling the air while guitars and bass vibrated through shabby carpet. As she joined him to take the music within, two objects in space edged closer and closer, gravity pulling both to an inevitable collision. In the gentle light of Christmas bulbs and uncountable candles, they circled round in time to the music, watching each other as neon Nazca-line insects scrambled across the walls. “Remember when you were young?” Emma crooned deep and soft. “You shone like the sun…” Flynn picked up before they both continued with the chorus. “Now there’s a look in your eyes,” she watched him draw closer. “Like black holes in the sky…” “Shine! On! You! Crazy… DIAMOND!” they both shouted, him with uncertainty, her full-throated and stepping into her own, reminding the house why no band playing in town turned down her offer to stand on stage and belt one out. Continuing to spin toward one another, trading lyrics and leers, the two ground their desire like peppercorns, seasoning the diminishing space between them. Whisper came out of the kitchen after a few verses, singing loudly and a bit off-key, Ra-Ra and LA Tina in tow. “You wore out your welcome, with random precision…” “Blown on the steel… breeze…” the followers continued as a chorus. Emma and Flynn unraveled from one another and gave the group a look of, Really? Now? “Come on you raver,” all a chorus, “you seer of visions. Come on you painter, you piper, you prisoner and shine….” Everyone then fell out, shaking to various degrees as though they’d just been brought to tongues by some tent-preacher’s sermon.
James R McQuiggin
The circumstances of life are only the bases or instruments of life: the fruition of life is not in retrospect, not in description of the instruments, but in expression of the spirit itself, to which those instruments may prove useful; as music is not a criticism of violins, but a playing upon them. This expression need not resemble its ground. Experience is diversified by colours that are not produced by colours, sounds that are not conditioned by sounds, names that are not symbols for other names, fixed ideal objects that stand for ever-changing material processes. The mind is fundamentally lyrical, inventive, redundant. Its visions are its own offspring, hatched in the warmth of some favourable cosmic gale. The ambient weather may vary, and these visions be scattered; but the ideal world they pictured may some day be revealed again to some other poet similarly inspired; the possibility of restoring it, or something like it, is perpetual. It is precisely because Shelley's sense for things is so fluid, so illusive, that it opens to us emotionally what is a serious scientific probability; namely, that human life is not all life, nor the landscape of earth the only admired landscape in the universe; that the ancients who believed in gods and spirits were nearer the virtual truth (however anthropomorphically they may have expressed themselves) than any philosophy or religion that makes human affairs the centre and aim of the world. Such moral imagination is to be gained by sinking into oneself, rather than by observing remote happenings, because it is at its heart, not at its fingertips, that the human soul touches matter, and is akin to whatever other centres of life may people the infinite.
George Santayana (Winds Of Doctrine: Studies in Contemporary Opinion: Exploring Modern Thought and Ideologies)
One day, from out of the ether, I get together a nice chord sequence. It’s the opposite end of the scale to “The Battle of Epping Forest.” As I feel my way around my new studio, fiddle about with the sounds emerging in my head, the memories of early Genesis songs like that, and like those on The Lamb, are bleating in my head—music that was written with no idea of what would go on top, so it was all a bit busy. There was never too much “space” in Genesis music. Whereas I covet space. For sure the songs I might eventually record will have room to breathe. This embryonic number, built round this nice chord sequence, is the perfect example of the space I’m looking for. Without even thinking about it, I soon have a working title based on the lyrics I’ve sung: “In the Air Tonight.
Phil Collins (Not Dead Yet: The Memoir)
I associate my vagitus with the sound of your music which continues to ring loud and clear worldwide. The uncommon lyrics you planed down, the charts, the melody, the conviction, the intricacies of loud art, the energy of voluble truth and your profound philosophy all breathe and spell out (next to the silhouette of spiritual balances) your enduring legacies.
Nkwachukwu Ogbuagu
Rather than tell a story in traditional Tin Pan Alley style, Lennon and McCartney wrote their lyrics to create a mood or a tone, so as not to get in the way of the effect created by the music and the sound.
Ian MacDonald (Revolution in the Head: The Beatles' Records and the Sixties)
When your heart, mind, and soul cannot control or refuse the desire to create a sound, or lyric, or rhythm, and you are helpless against the burning impulse to purge these inner demons, you are forever committed to a lifetime of chasing the next song. If it weren't such a sublime affliction, it could very well be considered a curse.
Dave Grohl (The Storyteller: Tales of Life and Music)
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