Music Quotes
Most Famous Music Quotes of All Time!
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Shaheed Diwas 2026
I was enamored with music at a very young age. Everything started with kundiman, then evolved to Carpenters, Barbra Streisand, Barry Manilow, and eventually classic rock music.
The fans at our shows in Tokyo love music so much; they're amazing. They give a kind of energy and adrenaline that builds us up when we play.
I have too much respect for the music and for the band and the fans to give anything less than my best.
I never was very capable of expressing my feelings or emotions in words. I don't know whether this is the cause why I did it in music and also why I did it in painting. Or vice versa: That I had this way as an outlet. I could renounce expressing something in words.
I'm a 50-year-old guy making music for over 20 years. I've been writing songs since I was 20, so it's really been 30 years, and it's always been personal, but I've always told stories.
I've always kind of been a little skeptical about bands that won't play their hits. That's really arrogant to me as a music fan. I do want to hear obscure songs, but like most people, I want to hear the hits, so we always play them.
Music is a nice friend to have around, whether it is just for yourself or for other people. If you can enjoy it, being professional is almost secondary.
With the advent of radio and recording, music became an industry rather than just a tradition.
Folk music is music that everyday people can play, and it inspired a lot of people to make their own music. That trailed into making your own pop music, and that's why garage bands started springing up everywhere.
I got my first break in 'Bhootnath,' solely on my credit, and went on to sing for around 20 films for all the leading music composers.
As an artist, I am for non-film music as well. I want that to shine as much as Bollywood.
I'm very grateful I went to school to study law, particularly tax law, which really is interesting to me and very useful to me now with my position. Music, however, will always be my number one passion; I like how it connects everyone.
I love music, and I loved dance music immediately. So I bought some equipment and started making my own. When I started this, I didn't say, 'okay I'm going to do this step and then this step' to become popular. I just created music that I loved.
Holland was one of the first countries to adopt dance music into their culture, and we were the first ones to have really big raves. I grew up in that atmosphere in the early 1990s, and I was very interested in how dance music was made.
As a DJ, people expect a certain sound and a certain danceability for the music. As a producer, I really like to let go of any rules that may exist.
I'm not a jukebox; I don't play exactly what the crowd wants to hear - that doesn't make sense. But, I do look at people requests. At the end of the day, they are the ticket payers and they are the ones that come to the show. If I played music that purely entertains me, I'd play very weird music.
In '92 - '93, I was at that age when I was looking for my identity and that's when I found dance music and I really fell in love with it.
I'm an electronic guy, I'm a freak for electronic music but real instruments, the dynamic range of it, and the emotions, there's no comparison.
I got into house music thanks to Dutch master mixer Ben Liebrand and my friends at school.
I always wanted to get into rock music so I could cover up my real personality, change my voice, and create a false self to hide behind.
I love to get to that place where I don't know what kind of music I'm doing; I don't know if it's any good. I don't know if it's anything. It's a big question mark. The idea is to have interesting results. That's my bottom line.
I really wanted to make the worst thing: the thing that even people who liked bad, terrible music wouldn't like - the stuff that people would ignore, always. Something really, really stupid. Something that is destined for failure.
I don't think I threw myself into music because I had the best intentions; it was because I was really angry.
I was actually under a lot of heaviness when I was younger. I thought of myself as an old soul. I was very obsessed with death. Basically, I didn't really have a youth - I sublimated all that into my identity and my music.
I couldn't imagine what it's like to be a journalist talking about music. You're left with empty descriptions; you probably have to make up a sort of weird cocktail of band influences and references to other music to get your point across.
I do get credit for having a California sound to my music, but I don't think people really know what that means - they think the Beach Boys. I'm thinking more like Sunset Strip in the 1960s and stuff like that.
I was never in the business of trying to put my name out there - I was really focused on music and records and being in the studio.
I think something I've been drawn to about the people I work with is that they seem to be - like me - people who are a little insane, and have to make music. It's not a choice they're making for the sake of vanity - like it's cool to be in a band.
I would rather fall flat on my face than try to just make a quick dollar by making music that fits into the radio format right now. It does nothing for me.
I just think that with music, it's kind of like life, and so the people you work with, you generally develop a relationship. You don't have to try to explain things. You just know. It's like you're in the band together and striving for the same goal.
I've been working on my own music. I've been writing an album, stuff that's kind of personal to my own life.
More people are asking me to come and sing for them, so obviously I am getting more work. But apart from singing, I have been parallely programming and producing music tracks and assisting music directors. That is my bread and butter, which is how I survived in Mumbai. Now I can't leave it.
I wanted to be someone who wanted to produce music, and here I am, and I'm happy about it.
I am songwriter. I do compose the music of songs that I write in Bengali. But I've never thought of composing for a film. That's a different art altogether.
When I joined the music scene, a lot of big-ticket singers were not getting good work... It was a lean phase.
I've always tried to avoid electronic music in India because whatever songs I got in the genre I didn't really enjoy singing them - I didn't like the arrangements.
My grandma's into music. My mom is a singer. Even my sister is a much better singer than I am. So you could say music runs in the family.
I like to compose, but only for myself. I write my own lyrics and compose the music around them.
Yes, the audience is so important to Negro music, especially the element of call and response.
To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.
Negro music and culture are intrinsically improvisational, existential. Nothing is sacred. After a decade, a musical idea, no matter how innovative, is threatened.
In rap music, even though the element of poetry is very strong, so is the element of the drum, the implication of the dance. Without the beat, its commercial value would certainly be more tenuous.
In America, for a brief time, people who followed Coltrane were studied and considered important, but it didn't last long. The result is that the kind of music I played in the '60's is completely dismissed in this country as a wrong turn, a suicidal effort.
Black music has become a commercial commodity. Live performances are not so accessible as they were previously. It use to be possible to go to the bar on the corner and hear music. It was available for a fifteen cent beer.
A whole generation of young whites have involved themselves with traditional Negro music.
I really like IU... I just think she has the most adorable everything. Her voice is beautiful; she's talented at writing music, guitar, everything. I fell in love with her when I watched her on that drama 'Dream High.' That's probably when I first really fell in love with her.
I can’t believe people love my music. It just feels like a dream because that is all I ever wanted.
One of the great things about 'The Cycle' is that we have a wide set of topics - news, culture, music, and sports - and every week, we have several authors of new books on, which often injects literature, history, technology, business, and science into our show as well.
Being Jewish is a culture and a religion; we have food, music, and land specific to us.
If I could, I would not do anything else. I'd just be in the studio for my whole life. I would never go to parties, events, and red carpets. I would rather just be in the studio for the whole time. I don't even care. Nobody has to know what I look like. I just want to make music.
To be honest, I never really considered myself to be too much of an actress. So, whenever I get the chance to do music, I'm always, like, just in it. It's like, 'Oh my God, I finally get to do this. I'm so happy.'
I'm not going to do anything crazy, but I want to do music that I'm passionate about. I'm finally at an age where I can do the music that I grew up loving, which was urban pop, '90s music. I grew up listening to the divas, so I'm very happy to finally do urban pop. I hope that it's received well, and it has been so far.
I am severely distracted these days. It's hard to sit in front of the computer, uploading bad music for hours, when you have a wonderful boyfriend who treats you like a Goddess.
I love music, singing, and playing piano (though I'm not very good). And I adore musical theater.
The representation that I always go back to is a pop star - whether it's Lady Gaga or Madonna, I love the way those women in pop music have always made an effort to create a specific vision.
Dabangg' symbolises entertainment, drama, good music, actions and we have tried to give doses of all of that in the sequel too.
When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making. Only after a piece of music is done does my frontal cortex allow me to organize what might be trying to come out of my subconscious.
Arthur Russell is very important to me on many levels, and when I read Tim Lawrence's biography on him, 'Hold on to Your Dreams,' one of the things I took away was: first thought, best thought. I live by that when I make my own music.
I want to be interested in the music I make until I die. That's more important to me than the size of my audience.
I feel like, a lot of times, you make music, and you don't really understand why until with hindsight.
Making music is an inward and outward gesture at once. I make it because I'm communing with a side of myself that might help me look people in the eye. But at the same time, I'm reaching out, in a way.
I kind of roll my eyes when people say they make music for themselves or they make art just for themselves, because, maybe in their head, what that means is that they're making it for someone who they don't think is real. Their audience isn't real. But it's still a communicative act. It's still an outward manifestation of longing.
Making music can get so emotional that, if you don't set limits for yourself, it can push you or the person that you're making music with to a breaking point.
It's a really deep and layered psychological situation - making music with someone - if they're trying to make something real and personal. It's almost like dating: you allow yourself to be consumed by the other - not in a bad way, but in a way that happens in nature.
When I work with other people, I have to try to make their vision happen. With my own, I don't think about it. The music has its own kind of agency.
The only thing that mattered to me with 'Xen' was setting things up against each other in an uncomfortable way. If there's a really soft piece of music, and then you're hit by a painful explosive sound, your brain does this funny somersault trying to make sense of why this happened. And at that very moment, your brain is malleable.
An American Idol is someone who knows how to change people's lives through music.
Pop comes from the word 'popular,' which means that it could be anything that appeals to any group of people. When you talk about general masses, I think there's elements in every kind of music that can reach a broad audience.
I've started my own record label - Jeepney Music - and I want to put out my own stuff and also stuff by other Filipino artists.
Back then we were young, we would just mash all forms of music together and come up with something.
To me, it's pretty much the same thing - I just love playing music. But the cool thing about DJing is that I get to play other people's music, I can mix it up between our songs and a variety of musical genres. It also enables me to be more intimate with the audience.
We've had great experiences in Israel - besides traveling around, we got to go to some clubs. We didn't really know how the nightlife would be in Tel Aviv, and we were surprised how big the party was and what a high level the clubs and music were at.
But when I discovered music, I knew that that's what I wanted to do in my life and I just jumped in all the way and pursued my dreams as a musician.
Music is common language. I can sing ‘Bebot' in front of white people and they will dance.
There is some gangsta music I like, like Biggie Smalls - he reminds me of Slick Rick -doing the same thing, but he did it in a really artistic way.
The Peapod Foundation provides tools and mentors encouraging children to express themselves through music and art.
I didn't make music videos in order to make a movie. Music videos were the goal for me, so it was never a step to something else. I approached it seriously.
My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.
There's only one music video that had an emotional impact on me, and that's 'Hurt' by Johnny Cash. That's exceptional. There is no music video I can think of apart from that one that really reaches you inside.
My world is much bigger than music, and that's why I always fight the 'rock' label.
I have such a love of good music that I find even melancholic music uplifting. Maybe I'm a rare breed.
Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.
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