Song Quotes
Most Famous Song Quotes of All Time!
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I like making all kinds of music, it really depends on the moment. Sometimes I feel like making a weird trap song, and sometimes I can't even attach a track to a genre.
People are People still gets played to death on '80s stations. It was our first big break in America. It's not exactly my favorite song.
People listen to music with cavemen ears: Is it a bird song or the call of a lion? The audience at a musical is dancing in their hearts.
If someone wants to say 'I love you' in a straight play, they say it, and then it's the other person's turn to talk. But in a song, you can sing about it for another three minutes. The musical form has that unique opportunity to express at length what joy really feels like.
I have never been able to remember the number of my driver's license, and there have been times when I couldn't even remember my own telephone number, but when I hear a song, sometimes only once, I never forget the melody or the lyric.
I had been wanting to give guitar lessons to girls because I feel like women tend to use their voice as the starting point for a song and learn a few chords, and then it ends there because then they just use their voice to flesh out a song.
If I'm focusing on playing and enjoying the song, then it always goes well. I get lost in the song, and the performance is so much better. If the focus becomes not making a mistake, then it just feels rigid to me.
Every day, I hear a song and I think, 'This would be great to cover on Glee.' I like Led Zeppelin, of course, and Pink Floyd, Alice in Chains.
While listening, to things like western swing, for instance, I'd work something out in my head, then play it on my National; not the same song, but one that captured the feeling of the original tune.
What I always try to do is to respond to the song; I've always rebelled against theory.
Each song has its own secret that's different from another song, and each has its own life. Sometimes it has to be teased out, whereas other times it might come fast. There are no laws about songwriting or producing. It depends on what you're doing, not just who you're doing.
There's never anything planned. I just do what I feel is best for the song at that time.
I'm not doing anything intentionally to stay in the public eye. I'm staying true to my art, like I always have. The press, for whatever reason, decided to zone in on what is very common banter for me. It got worked out through song - the same way I work everything out.
Red House Painters were doing cover songs before our first record deal. I remember live shows where we did an AC/DC song; I think we did 'Send In The Clowns' by Judy Collins. We did 'The Star Spangled Banner,' which came out on our third record.
I don't make demos. I don't have the interest or the energy or the time. Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.
I wanted 'Imitations' to be a fully realized record from start to finish, with a cohesive sound and a sequence that took you from one song to the other, just like I would with a record of original stuff.
I enjoy my own songs, but I can never love them in the way that I can love someone else's song.
It's a different kind of satisfaction, different kind of enjoyment than making your own songs, to remake someone else's song that you really like.
I think there's something therapeutic in singing about anything, whether it's what you've written or whether it's someone else's song. I find both satisfying in different ways.
Oh my God, if you're talking terrible theme songs, you have to mention Matt Hardy. I can't understand what they're even saying. There's a point in Matt Hardy's song where it sounds like they say 'I want to meet the cheese.' I'm always like, 'Meet the cheese?' Just goofy stuff.
I wrote 'Don't Stop' just like I wrote 'Pumped Up Kicks' - I didn't try to make either a hit. I just wanted to write a song I liked.
I feel like trying to write a song in order to be a big hit is just not something I'm interested in because it's not going to come from an authentic place of expression.
I've been told that 'Midnight at the Oasis' has been responsible for the conception of more children than any other song of the '70s.
That's really what was wonderful for me growing up, since I got to know so many of the songwriters who liked me and thought I had talent. They would then tell me how to read a lyric and sing a song, and challenge me to try and find a different end to a song.
If all the media are singing one song, it gets dangerous; it really does.
I want my careless song to strike no minor key; no fiend to stand between my body's Southern song - the fusion of the South, my body's song and me.
Prayer does not use up artificial energy, doesn't burn up any fossil fuel, doesn't pollute. Neither does song, neither does love, neither does the dance.
I have some songs on 'Tha Carter V,' but if I hear a song five times, I don't like it no more.
Cash Money really had no intentions of being a rap label because when it started, it really was based on bounce. It was one bounce song after another. I started to doing bounce songs for them, and they jumped off.
There have been a couple of times I've started the song in the wrong key. We stop the song, we all laugh together and we start the song again, and we go for it.
I don't want people to sit and process the song. I want them to just let them bathe over them.
One of my side strange abilities is to hear a good song, no matter how it's being performed. Even if you get a bad performance, I can still hear that there's a good song.
When you break new grounds and try to do something different, it's always a high. I remember the first time we did a whole song in slow motion with lipsync for 'Geetanjali.' It was not prevalent at that time. We just had a method and we tried to do that. We weren't sure whether it was going to work, but that is the kind of risk you take.
Whenever we compose a tune we must put our full heart into it, only then the output will be best. That is why every song of mine has a fresh feel.
There is a very thin line that differentiates and gives a song its distinct flavour.
Composing a melody or a western song is easier than composing a commercial number.
Any composer will not completely enjoy the process of creating a remix. Even if one adds their own elements, the song ultimately belongs to the original composer.
While there is a typical introduction song for the hero, there are songs that represent each phase of the characters' journey.
I'd listen to a song and say, 'Hang on, I like that piano thing,' so I'd play the guitar like that and get the vibe from it, and it just evolved from the get-go. It was pretty obvious what to do; You don't think about rock n' roll: you just do it.
I wouldn't have made it past the first round of American Idol auditions. It was months before our first song was recorded. The guys were like, 'Just seeng!' And I was like, 'I don't know how to seeng! Can't I just play the triangle?'
If you want me to sing this Christmas song with the feeling and the meaning, you better see if you can locate that check.
I became an actor only as a result of Madhuri Dixit. I was watching 'Ram Lakhan,' and her song 'Bada dukh dina' started playing. The minute I saw it, I told my mother, 'I wish to accomplish it. I desire to be on TV.'
The reality is my career started with a song that wasn't finished and a video I didn't know was going on the Internet. It happened so out of my control.
Country fans are the most loyal in the world, but they know every song that you put out - not just the singles.
At first, I did have that thought, like, 'Oh crap, what are we going to do after?' Then I realized 'Girl in a Country Song' was an honest, truthful song, and we were telling our truth, and that's all we have to do - write songs that are true and tell our stories.
We played 'Girl in a Country Song' in front of Scott Borchetta, and he loved it.
If I sample a song, I usually make samples out of the whole album. Then I move on after that. Doesn't mean I'm going to release that whole album, but I do that.
When you're in a songwriting class, and you write a song, and you hand it in to a teacher to grade, I'm still going to say that it's a really awesome song whether I got an A or a D. I learned to stick to my guns and take the tools as tools and not as rules.
I'm someone that examines culture and tries to break down why things are the way that they are whether its hip-hop music, sex, race, or consumerism. I try to examine it and scrutinize it to the point where I can write a song.
When I write, I don't have any expectation of what kind of song it will become or who it might reach.
I don't write a great song every day. I don't write a great song every couple weeks. It comes in such random times.
It's a spiritual experience on stage almost every night. Especially, with the song 'Fly.' We were so inspired to write this song and just to hear people's stories and how it's impacted them.
I flood the Internet with what I think is quality content. That's why I did things like giving out a song every 100,000 Twitter followers because I am just looking for ways to get my fans to hear all this music without over saturating things.
I think couldn't not make a song called 'Wild Boy' and not be a wild boy.
I always prefer other people's interpretations over my own, so I'm not very quick to make explicit what exactly a song or record is about.
I wouldn't want to cover a Hank Williams song in a country-western way. It doesn't occur to me instinctually to re-create productions. I'm interested in re-creating songs. Putting different clothes on them.
It's no fun for me to cover a song and produce it the exact same way as it already exists. When I hear that happening, I have to say, 'What's the point?'
'Paper Planes' was an accident. It wasn't a song we made for the masses. It took two years to get popular, and there were many fights about censoring the gunshot sounds.
I put a song on Soundcloud, and Annie Mac made it record of the week, and a month later, I signed my record deal.
'Finders Keepers' is guaranteed to create a vibe. If I'm having a difficult show, then I know I've got that song at the end to turn it around, and the phones will come out.
There was a chance for me to write one song for the section where Elvis sat in his black leather outfit and sang the old hits. At eight oclock the next morning I had written Memories.
I met the Colonel when Elvis was recording some song I'd written for one of his movies. Elvis was just having fun with the gang and all the Memphis boys and Colonel Parker was sitting over here in like a theater seat.
I had always wanted to write a song called, The Vicious Circle. I always thought it was like, the kids are born there, they grow up there, they die there.
Don't Cry Daddy is a pretty sad song. He got to the end of it and it was just real quiet and Elvis says, I'm gonna cut that someday for my daddy. And, by God, he did. He lived up to his word.
I'm a pretty easygoing person, and it bleeds into the music. Even if I'm writing the most personal song, it's not going to come out totally serious; there's always a little tongue in the cheek.
The song 'Paradigm' talks about nanobots - and how they can potentially be used to cure diseases and help you live forever. But how much of a human being would you be at that point? If you're 70 percent machine and 30 percent human, are you going to lose yourself?
I think one of the biggest sleepers that people are going to be able to dig into later is 'Fermi Paradox,' it's the song before 'Exist.' To me it's got the coolest, it's just so bizarre because it's got one of the most melodic vocal melodies, but we put it over a black metal blast beats.
Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
I do dumb stuff, like playing my favorite dumb Barry White song and lip-synching into the mirror so it looks like his voice is coming out of my mouth.
'Dancing in the Dark' is one track. Basically, the song is about connecting with someone mentally, and you're moved so much by the intellect that both of you want to make it physical.
Nothing is more rewarding than to take a song, create it out of thin air and then watch it affect people.
I'll never forget when me and Jason Matthews wrote the line, 'Don't be a tape player hater,' in 'Country Man,' I don't think I ever laughed harder. We didn't know where we were gonna put that in a song, but we knew we had to make it into a song. I just remember laughing and being so proud of such a goofy little line.
I think 'Country Girl' is one song that can veer into country or hip-hop or rap. You can listen to it and enjoy the humor and the fun in it.
When I picked up guitar, it wasn't like, 'OK, I'm going to be Kenny Chesney.' It was like, 'I want to play a chord,' and then it was like, 'I want to play another one, then play a song, then sing while playing the song.'
If I can reach the guy in Alabama that hunts, and he hears that song, and he sees me - like, he's comfortable with me, my image as a person, as an artist - he's willing to sit down and give that song a chance.
When I go into a room to write, it's like I'm not trying to say, 'I need to write a song that sounds like Eric Church or Jason Aldean.' I just try to get the best song that's in the room that day. Whatever style or sound that may be, I'm not afraid to attack it at that angle.
I do gravitate towards the sad songs because I find them to be more of a challenge for me from a writing perspective. There are things about those songs that do touch people in a way that a fun song can't.
Sometimes, you sit down to write a song, you don't realize what it's going to mean to somebody other than yourself.
I felt alive when I read a script and acted out a scene, or sang a song. It was my dream. I'm just very lucky that I'm still doing it and able to earn a living from it.
I'm remixing an R.E.M. track called 'I've Been High' from their last album, 'Reveal.' It's a beautiful song, but record execs didn't put it out as a single because it didn't sound like the R.E.M. we're used to. So I asked Michael Stipe if I could have the tapes to do a remix, and he agreed.
I don't know what happens at radio as far as what is that X factor that makes a song click and have people get connected to it when it's in another language.
The beautiful thing about it is that 'Despacito' is not really an English crossover. It was just another song that the world made a crossover. I didn't really push it; it just kinda went there.
For the last 10 years, I've been working with Donald Glover and Ryan Coogler, and we've put down so much time really trying to make the best that we can, whether it's a movie, a film score, or a song.
I made my first song when I was 9 years old. Just beating on garbage cans, having people beat box.
I guess the point of that song 'Troublemaker, Doppelganger' is trying to navigate the worth of beauty and if it's hurtful or helpful to value beauty. If it's a curse or a blessing. Is that something really negative and morbid, like the hearse, or is it the limousine - a glamorous symbol of enjoying life?
We just did a few takes of a song and just picked the best one. It was real organic and genuine.
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