Song Quotes
Most Famous Song Quotes of All Time!
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The only reason I would write a break-up song is because my own problem of allowing myself to relate to people.
Singing connected with movements and action is a much more ancient, and, at the same time, more complex phenomenon than is a simple song.
I'm always glad when people come together to help each other - whether they're raising money for somebody in a bad situation or making a creative piece like a song.
I will not promote other people's songs big time. I will just mention that I produced the song to get the credit I think I deserve.
I never feel like I need to make a song that sells 5 million copies; that's not the point of why I make music. It's great if that happens, like it did with 'Clarity,' but my goal is to always make a better track than the last one.
I really like working with unique and unknown artists, as they usually bring something fresh to a song.
A lot of my friends send me Snapchats of when they're in the club, and they're like, 'It's your song!'
Back when I was jamming with Axl and the guys they had boxes of cassettes with song ideas. How do you know which ones you like now when you have that many ideas.
I think every revolutionary act is an act of love. Every song that I've written, it is because of my desire to use music as a way to empower and re-humanize people who are living in a dehumanizing setting. The song is in order to better the human condition.
'Watchmen' is like the music you feel is written just for you. 'That's my song, no one else gets that but me.' That's why the fan base is so rabid, because they feel personal about it.
I'm scared of karaoke. I think if I did have a go to karaoke song, it would be 'Whatta Man' by Salt-n-Pepa.
We've gone further on this album, where we have a Big Band song, kind of a Sinatra-type song; we have a couple songs that have electronic music on them. We've got a couple rock songs, maybe a little heavier than what we've done. So the title 'Jekyll & Hyde' really covers the breadth of the record.
When we cover a Chainsmokers song in our live show with ZBB, people are dancing and going crazy.
When I was in fourth grade, I made a song about the part in Stockholm where we come from.
I don't like to get comfortable. I don't like to be like, 'Oh, my song is all over the place. I'm lit.' Nah, it makes me wanna keep working.
I didn't used to do shows, because I used to be so shy. We'd perform, and I'd be at the back, thinking of another song. I was so shy, I ain't never getting in front of the camera; I would never get on stage.
If you feel that you can just come in the studio and freestyle on my song, then I'm ready to rap battle you. That's just how I feel about it because I know I'm way harder than another rapper freestyling on my song.
I did a song in eight minutes. I thought everybody could write songs that fast. But working with a lot of them, they don't.
Wayne and Drake, it takes them so long to do a song. I understand why, because they want it to be perfect. But I think I can do a perfect song in 10 minutes.
It's not just about getting a song on the radio or appearing on television. It really is about helping people change their lives one day at a time.
When I was 20, I didn't give a damn about song construction. I just wanted to make as much noise and play as fast and as loud as possible.
When some artistes give a hit song, they keep repeating themselves in the same genre. I always try to create something new.
I don't take my work ever for granted. I still work very hard on every song and try to outdo myself every time.
I intend not to do an item song ever. I find the term 'item songs' bizarre. I do not want to comment on its presence and its popularity, but I would rather avoid it.
'Dangerous' is an album that I was very dedicated to. I wanted every song to be a hit.
When I first started, the very first body of music I made when I got signed to Atlantic were songs with titles like 'Unify' and 'You're Special.' And there's this song that reminds me of Meghan Trainor that I wrote, about a woman's body and not conforming, when I first started in music.
My favorite song is called 'Reachout.' There are so many different stories told in that song. I think anyone who listens to it will gather a different meaning, but each answer is true. I also like the sound of it, period - there are a lot of classical influences.
I knew 'Ojuelegba' was a good song, but I didn't expect it to blow up the way that it did.
Umm... my favourite Wizkid tune of all time would be 'Don't Dull' 'cos I recorded the track in, like, 5 minutes. The beat was ready, we went into the studio and freestyled, and it was ready. The song became really, really big, so I think 'Don't Dull' is still my favourite.
I've seen the Stones play for three hours, and the crowd knew every song. It's what you want in a headline slot at a festival.
I cut a rap song once. It was a few years ago for my old show 'Buck Commander,' and it was a song called 'You're Short.' It was about my camera guy. We shot the video in Las Vegas, 'Ocean's Eleven' style!
The Blues are the true facts of life expressed in words and song, inspiration, feeling, and understanding.
There are a lot of singers, but they weren't doing it the way I was, taking an Adele song and putting a hip hop beat behind it to make it a different song.
Whenever I heard the song of a bird and the answering call of its mate, I could visualize the notes in scale, all built up within my consciousness as a natural symphony.
The first song that I wrote was when I was with The Del Rios. I was like 14 years old but I was always putting my thoughts down on paper even before then because it was like an escape - a way of unleashing all the stuff.
Growing up in Memphis and listening to all kinds of music and dreaming... So that was one of the first times I wrote a complete song and set it to music and the whole bit. From then on, I was busy with it.
I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.
I make the songs and part of making them is singing them. But what you hear is not me. It's the song. It's through me.
I just wanted to keep consistent and keep true to America and not seem contrived. I didn't want to seem contrived at all with any song choice that might be a detriment to my journey on 'The Voice.'
To me, a song is not finished. To me, there's no such thing as a finished anything. All of Beethoven's nine symphonies, to me, are one. I think of it as having no beginning and no end.
I've always written by myself. I've never been in a situation where the whole band sat in a room and wrote a song. I don't work that way.
The song 'Assassins Of Youth'... 'Assassins of youths' is what they used to call drugs in the old days when they first started the anti-drug campaign. And it's kind of an anti-drug record.
It's always a live experience - anything that happens around you. It's so easy to just put it to a song.
What I say is from my heart. You must be sincere. So when I sing a song, people are supposed to feel it.
Sometimes the song title comes with the songs, other times you just sorta make something up afterwards.
When we went to cover it I thought we would change it to a song of loving and longing instead of the sex machine song Kylie turned it into. I've met Kylie and told her we were covering her song and she was pleased.
Even in the beginning, when we knew there was a legal argument about how much our song sounds like his song, as one songwriter to another, I wasn't sure that Cat Stevens would take that as bad.
If you have a song that you think sounds like another song you should contact the publishing company and say I have a song here, let's cut a deal that lets everyone walk away feeling good.
I do try to structure everything in a way that's very much like a pop song. I try to keep the arrangements really simple, just to make everything essential.
I just make up lyrics off the top of my head. A lot of times, there's a phrase I really like, and I kind of build the song around that.
One way in which 'Friends' did resemble 'Seinfeld' is that it really found its audience over the summer of 1995 in reruns. That's when the main title song, 'I'll Be There for You', by the Rembrandts, exploded, too.
'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.
There was a film called 'FM,' and we were asked to do the title song. And I said, 'Does it have to have any specific words?' And they said, 'No, it just has to be about FM radio.' It took a day or two to write.
Sometimes when you belt, it kinda makes the song more dramatic than it really needs to be. There are certain songs that you hear, and you're like, 'Wow, he's singing about his girlfriend, but he sounds kinda mad the way he's yelling, 'You're so pretty!''
That's kind of something we - my team and I - text each other a lot. Anytime something great happens, we're like, 'Hey, look, the song's #17. Boom!'
Most of the time in Nashville, you're so replaceable. Anybody can get another nice-looking guy to sing a country song.
Growing up, all I cared about in a song, before I really listened to lyrics, was that beat.
It's cliche, but everybody says, 'We're all one song away,' and it's so true. The difference between me and the guy down the street busking with his guitar case open is just one song.
I did a smaller gig with an acoustic guitar and a drum machine. In one song, something wrong happened with the drum machine. I tried to cover up the mistake by playing faster and improvising a new song but it became crazy, and I had to admit it was all a mess.
I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.
The funny thing is, people's perceptions of what a song is about is usually wrong a majority of the time. But they're still going to read what they want to into it.
With technology now, you can go in and sing a song, and for $100,000, you will sound flawless.
'Helter-Skelter' was the motive for the murders. Manson borrowed that term from a Beatles song on the 'White Album.' In England, helter-skelter is a playground ride. To Manson, helter-skelter meant a war between whites and blacks that the Beatles were in favor of.
When we start to write for a new record, we never really know what we're doing. We don't come into the room with a set of ideas, but miraculously, a song comes out of it.
With a track like 'White Christmas,' everybody has done that song in every format you can imagine, so I just looked at the chords at that particular song and what chords would make it work. That's kind of quite a sad song, and I had this idea of someone singing it in the subway, someone who is homeless, old and sad.
It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun.
I'm inspired by Prince on every level; the whole androgynous thing, the ambiguity in his gender and his foundation - it's amazing. That's the way I think about clothes, in relation to my personality and my life. It's just an extension of who I am, like a song.
I've always felt that to deliver a song successfully, you have to be an actress. A good actress becomes the part, just as a good singer becomes the song.
I hate being manipulated by song. Don't tell me what I should be feeling. I don't want cellos or violins to be telling me that I should be bawling right now.
If I had my choice, I'd pick a song that tells a story every time. There is a great deal of pleasure in doing the vocal on a number that you can put feeling into.
The idea of a soulmate is beautiful and very romantic to talk about it in a movie or a song, but in reality, I find it scary.
The song 'What Goes Up' was inspired as I was playing the piano and reminiscing about the Spaceship One launches I witnessed in the Mojave desert. It is an awesome thing to comprehend the magnitude of what a human being dreams and imagines can be realized.
But when you hear the complete album, it gets dark, really straight-up rock, with some really intimate moments with just me and the piano. It's not completely me because there are parts of me that aren't on that song, that are on the album.
Sometimes when you're writing a song and that song comes into your head, it definitely comes from somewhere, like a real experience.
It's a weird thing to say you want people to be sick of your song, but I guess that's what happens if your song goes really well.
When I go to a gig and I hear a song that I really like, a song that hits home to me or hits an emotional nerve, if I could ever recreate that for someone, that would be the ultimate goal.
I try to write down every song that comes to me, even though I know that every song that comes to me isn't a song that I need to sing.
When you listen to my music, you hear that there are all these voices going on in different parts of the song. That's because I was always around so many voices in church.
There is a formula that allows you to write a decent song. But a song like 'You're All I Need to Get By,' it just writes itself.
Every time you come out with an album or a song, you want to feel like you're growing a bit in what you are and giving people something that they can feel.
A friend and I were talking about how I don't like carnival rides that make me dizzy. I looked up from the conversation and thought, 'Dizzy - that sounds like a great title for a song.' The next day, I went into the studio with some co-writers, and we wrote that song.
Usually, when I'm rappin', I'm creating a big story or a concept song that sounds like a movie to me.
Pretty much all the programming on our CDs is done by me personally, so I've kind of been able to have complete control of what sounds I'm looking for to complete a song.
I think throughout the day; there are always lines or certain words, and I'll just keep notes in my phone. It might just be one or two words, and then that could inspire a whole song, lyrically.
I remember the first time I ever showed my parents a song that I had written. The content may have been a little darker than they were used to, or really introspective in a way that may have been uncomfortable. I thought they'd retaliate with some kind of judgment or concern about whether I was feeling all right, but they were proud of it.
You kind of have to celebrate the moment that you get to create something that you love that falls into the parameters of a 3-minute-and-20-second song, to try to be creative inside of those parameters.
EDM has trained a new generation of listeners' ears to accept a much broader range of what equals a song. EDM has become top 40 stuff: those sounds, those styles, those ways of thinking about song structure - even thinking that vocals aren't necessarily the central element - those ideas have made their way into popular culture.
You go to Miami, and you might only hear one Tyga song on the radio. You go to L.A., and you might hear six or seven on the radio. There's certain things you do for your city.
Girls always want a reason to get crazy. I get the feeling that girls are crazy anyway, so they just want a reason to really get wild. Why not let it be to a Tyga song?
'Honky Tonk Badonkadonk' wasn't some serious song, but it was huge! It was funny.
I did a song with Rihanna recently, and I was like, 'How did you find out about me or whatever?' And she said, 'Drake.'
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