In the end, the love you take is equal to the love you make.
What I have to say is all in the music. If I want to say anything, I write a song.
One of my biggest thrills for me still is sitting down with a guitar or a piano and just out of nowhere trying to make a song happen.
Pete Ham in the group was a very good writer. He wrote the Nilsson song "Without You", which is a seriously good song. But the poor fellow topped himself. He was a lovely bloke, I can still see him now. It was a terrible loss.
There's nothing like the eureka moment of knocking off a song that didn't exist before - I won't compare it to sex, but it lasts longer.
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
I had this song called Helter Skelter, which is just a ridiculous song. So we did it like that, 'cuz I like noise.
Putting two songs together, I've always loved that trick when it works.
I knew the words to 25 rock songs, so I got in the group. Long Tall Sally and Tutti-Frutti, that got me in. That was my audition.
Help them to learn songs of joy, instead of burn, baby, burn.
Close your eyes and I'll kiss you, Tomorrow I'll miss you.
It's a powerful thing hearing your friend on a very beautiful song.
I think when you're making an album, as the songs are piling up, one of the good things about it is that you will often write the song that you need.
I think that selling rights is a bad move commercially, not just morally. It cheapens the songs. When people come to my concerts, they often hold up candles when we do "Let It Be." I don't think they'd do that anymore if the song suddenly became part of an Oldsmobile ad.
I'm only 49 years old. I'm still in the middle of this whole thing. I don't feel like it's finished at all. I'm still planning to write better songs.
Songs have some kind of structure that connects with people`s hearts.
Sometimes you write a song in a certain era and it's got a certain kind of significance.
I used to think that all my Wings stuff was second-rate stuff, but I began to meet younger kids, not kids from my Beatle generation, who would say, We really love this song.
Domesticity is the enemy of art. I don't know if that's true. You can write good happy songs. So, I don't think it's necessarily happiness. But I think self-satisfaction is maybe the enemy. It's kind of better to think, "Tomorrow night I'm gonna sing it better." There is this forward effort. It feels to me right, it feels human.
The most important ingredient to making a song work is the magic. You've got a melody, you've got words, but on the more successful songs, there's a sort of magic glow that just happens and you can feel it happening. It just makes the songs sort of roll out.
I think it's something to do with the structural quality of the songs. We weren't actually trying to make stuff that was cool, or of the moment, although a lot of it was. We were trying to make stuff that was good enough to stick around and lo and behold, it has.
John could write a mean song. He had a lot of venom in him. Whereas I had a happy childhood.
I just start singing some words with a tune. I don't ever write a song thinking, Now I'll write a song about... .
Every love song I write is for Linda.
I'm not into, Hey, what's your sign? or any of that. But I don't know how I got here, and I don't know how I write songs. I don't know why I breathe.
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