Pete Seeger Song Quotations

I keep reminding people that an editorial in rhyme is not a song. A good song makes you laugh, it makes you cry, it makes you think.

If I've got a talent, it's for picking the right song at the right time for the right audience. And I can always seem to get people to sing with me.

Songs won't save the planet, but neither will books or speeches.

I try to sing many different kinds of songs. If I sing a batch of humorous songs, I'll throw in a deadly serious song. Or if I'm singing too many serious songs, I'll throw in a ridiculous song, to mix it up.

Again, I say I will be glad to tell what songs I have ever sung, because singing is my business.

I decline to discuss, under compulsion, where I have sung, and who has sung my songs, and who else has sung with me, and the people I have known.

Looking back, I think I tried to be too eclectic. Sometimes I'd sing thirty songs, and fifteen of them were not in English.

I'd really rather put songs on people's lips than in their ears.

Songs are funny things. They can slip across borders. Proliferate in prisons. Penetrate hard shells. I always believed that the right song at the right moment could change history.

Now any person who plays an acoustic guitar standing up on stage with a microphone is a folk singer. Some grandmother with a baby in her arms singing a 500-year-old song, well, she's not a folk singer, she's not on stage with a guitar and a microphone. No, she's just an old grandmother singing an old song. The term "folk singer" has gotten warped.

I always knew that sooner or later there would come somebody like Woody Guthrie who could make a great song every week. Dylan certainly had a social agenda, but he was such a good poet that most of his attempts were head and shoulders above things that I and others were trying to do. ... If I had an address, I'd send him a birthday card saying, 'keep on going.'

RULERS should be careful about what songs are allowed to be sung.

Song, songs kept them going and going; They didn't realize the millions of seeds they were sowing. They were singing in marches, even singing in jail. Songs gave them the courage to believe they would not fail.

A good song reminds us what we're fighting for.

I write a song because I want to. I think the moment you start writing it to make money, you're starting to kill yourself artistically.

A good song can only do good, and I am proud of the songs I have sung. I hope to be able to continue singing these songs for all who want to listen, Republicans, Democrats, and independents.

He [Alan Lomax] started right off trying to find people who could introduce folk songs to city people. He found a young actor named Burl Ives and said, "Burl, you know a lot of great country songs learned from your grandmother, don't you know people would love to hear them?" He put on radio programs. He persuaded CBS to dedicate "The School of the Air" for one year to American folk music. He'd get some old sailor to sing an old sea shanty with a cracked voice. Then he'd get me to sing it with my banjo.

In the largest sense, every work of art is protest. ... A lullaby is a propaganda song and any three-year-old knows it. ... A hymn is a controversial song - sing one in the wrong church: you'll find out. ...

My mother wanted me to learn how to read music. She'd given fiddles to my two older brothers, but they'd rebelled. I came along and my father said, "Oh, let Peter enjoy himself." What she did was leave musical instruments all around the house. Whistles, marimbas, squeeze boxes, a piano and organ. By age six or seven, I could bang out a simple tune on almost anything. I developed a good ear, so I didn't learn to read music until I taught myself at age eighteen, 'cause I was hearing so many good songs I couldn't possibly remember them all.

Honest songs aren`t written for money.

Throughout history the leaders of the countries have been very particular about what songs should be sung. We know the power of songs.

My father urged Alan [Lomax] not to repeat the mistakes of the European folklorists who, a century ago, had collected these peasant songs and then arranged them for part choir and accompanied them on piano, and then told the young people of their country, "Don't change a note, this is our sacred heritage." Father said, whether it's a fiddle tune or a gospel song, learn it right off the record from the people who grew up with it. Don't just learn it from a piece of paper.

Now somebody will ask me, Pete, how can you prove these songs really make a difference? And I have to confess I can't prove a darn thing, except that the people in power must think they do something, because they keep the songs off the air.

There are many people writing songs. That is absolutely wonderful. Who knows, there may be some kid in diapers and he or she might succeed in capturing in a few dozen words what great writers have spent years trying to say. Just the right word in the right place with the right melody behind it and the right rhythm. It might get around the world inch by inch, and people realize that this world is in danger, that we're in danger. That's the way "This Land Is Your Land" got to be so well known.

At the audition, your assignment is to find something new in the song. Something you've never noticed before. A breath carried over, a thought that ties the whole thing together. Then take the risk and do it.

A song is like a picture of a bird in flight; the bird was moving before the picture was taken, and no doubt continued after.

Alan Lomax is the person who I think should be given major credit for what has been called the "Folk Song Revival." My father participated with him because my father was a musicologist and urged trained musicians to learn about "the vernacular."

John McCutcheon is not only one of the best musicians in the USA, but also a great singer, songwriter, and song leader. And not just incidentally, he is committed to helping hard-working people everywhere to organize and push this world in a better direction.

I was working for Alan Lomax in the Library of Congress folk song archive, and starting to realize what a wealth of different kinds of music there was in this country that you never heard on the radio.

I think folk music helps reinforce your sense of history. An old song makes you think of times gone by.

I still prefer to hear [Bob] Dylan acoustic, some of his electric songs are absolutely great. Electric music is the vernacular of the second half of the twentieth century, to use my father's old term.

In the United States, many people said you can't have folk music in the United States because you don't have any peasant class. But the funny thing was, there were literally thousands, tens of thousands, hundreds of thousands of people who loved old time fiddling, ballads, banjo tunes, blues played on the guitar, spirituals and gospel hymns. These songs and music didn't fit into any neat category of art music nor popular music nor jazz. So gradually they said well let's call it folk music.

I learned by transcribing songs out of the Library of Congress collection in Washington where I was working. I got a job when I just turned twenty in 1939 and Alan [Lomax] needed some help. I listened to hundreds of records every week.

There's a story behind every old ballad or work song or nonsense song that I ever knew. Sometimes it's a fascinating story. A story of people struggling for freedom, struggling to get along in this old world.