In country and R&B, there's much more of that division between writers and performers, and that's where you see more of those [crossover] songs, but you don't get a lot of that coming out of the more pop and rock side of things.
Even now, when you get love, you see Radha. Become Radha and be saved. There is no other way, Christians do not understand Solomon's song. They call it prophecy symbolising Christ's love for the Church. They think it nonsense and father some story upon it.
Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.
There's a lot of different ways that a song would be a challenge to parody. There are a lot of songs that would ostensibly be a good candidate for parody, yet I can't think of a clever enough idea. Some songs are too repetitive for me to be able to fashion a humorous set of lyrics around. Some songs flat-out just don't work creatively for me.
Death darkens his eyes, and unplumes his wings, Yet the sweetest song is the last he sings: Live so, my Love, that when death shall come, Swan-like and sweet it may waft thee home.
I've never really been nervous about any concerts. I enjoy it so much. All that matters is getting the songs played well, trying to get them to sound as close to the record live, which isn't easy, because my music is quite complicated to play.
There were nights when he took a deal more rum and water than his head could carry; and then he would sometimes sit and sing his wicked old wild sea-songs, minding nobody... Often I have heard the house shaking with Yo-ho-ho and a bottle and rum, all the neighbours joining in for dear life with the fear of death upon them and each singing louder than the other to avoid remark. Fiften men on the dead man's chest, Yo-ho-ho and a bottle of rum! Drink and the devil have done for the rest. Yo-ho-ho and a bottle of rum!
What a wonderful song, she thought-everything was wonderful tonight, most of all this romantic scene in the den with their hands clinging and the inevitable looming charmingly close. The future vista of her life seemed an unending succession of scenes like this: under moonlight and pale starlight, and in the backs of warm limousines and in low cosy roadsters stopped under sheltering trees-only the boy might change, and this one was so nice.
Everything I do is about setting up for the next. I think that my confidence and belief in myself as well as the music and trusting my judgment of my songs really grew the most.
I've been saying for almost 20 years that I need to do a jazz project and it ought to be either big band or I should do some jazz songs with a trio or quartet.
There's a bit less elbow room and latitude to take it somewhere else, at least at festivals. In the club you can do whatever you want but at festivals, especially Ultra, nowadays the crowd wants to hear our songs.
I carry two traditional pipes and I sing my songs and pray that us as human beings treat each other with respect. So when it came to trying to portray a connection on screen, that's what you see.
I started writting songs when I was really little because there were things I could say through songs that I couldn't verbalize any other way. Writting was something I had to do.
I have wished a bird would fly away,
And not sing by my house all day;
Have clapped my hands at him from the door
When it seemed as if I could bear no more.
The fault must partly have been in me.
The bird was not to blame for his key.
And of course there must be something wrong
In wanting to silence any song.