Genial manners are good, and power of accommodation to any circumstance, but the high prize of life, the crowning fortune of a man is to be born with a bias to some pursuit, which finds him in employment and happiness, -- whether it be to make baskets, or broadswords, or canals, or statutes, or songs. I doubt not this was the meaning of Socrates, when he pronounced artists the only truly wise, as being actually, not apparently so.
A lot of times, the choice of the right song will save a scene. Or there will be a scene that's a little flat and you put in the right song and somehow it just comes alive.
I think for many songwriter/performers, you need to go off by yourself and write the songs to begin with, but then you need people to bring them to life. So you have to be comfortable with solitude and also with being very social.
The thing about singing is that if you're having fun while doing it then people will have fun watching you do it. Like in karaoke if you're like "I don't think I can do it" and then you sing a song and you look terrified people will say, "Poor guy or poor girl, get offstage. You're killing us." But if you get onstage and you don't sing that well but you give it your all, people will be like, "Yeah, I'll chug beer to this!".
The channel of art can only become clogged and misdirected by the artist's concern with merely temporary and local disturbances. The song is higher than the struggle.
Our homes do not have to offer us permanent occupancy or store our clothes to merit the name. To speak of home in relation to a building is simply to recognise its harmony with our own prized internal song. Home can be an airport or a library, a garden or a motorway diner.
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.
If you love a person, you say to that person, "Look, I love you, whatever that may be. I've seen quite a bit of it and I know there's lots that I haven't seen, but still it's you and I want you to be what you want to be. And I won't be happy if I've got you in a cage. You'd be a bird without song."
Basically, I didn't want to sing anything for the sake of singing it. There were some songs where I really wailed, but because it's such an intimate space anything I chose to sing simply to make sound was going to come off an inauthentic. So I was really happy with where it landed - every song I sang, I loved for one reason or another. I didn't have to worry about selling a song.
When someone says that I'm angry it's actually a compliment. I have not always been direct with my anger in my relationships, which is part of why I'd write about it in my songs because I had such fear around expressing anger as a woman.
In my opinion, there is a huge lack of imaginative, unconventional music being created by artists today and what little there is, goes widely unappreciated by the masses. 'Port Blue' is my attempt at re-creating the music I want to hear and the emotions I want to feel." "If by chance you ever feel as though you’ve come to know these songs, please consider yourself a friend because in a manner of speaking, you know me. This music is my heart and soul. This is who I am." (Adam R. Young, 2006)
I do original songs in the style of other artists, where I try to learn all their musical idiosyncrasies and try to do something that sounds like them and yet is a bit more sick and twisted.