Song Quotes
Most Famous Song Quotes of All Time!
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The old jazz singers or old blues singers, you always just saw them kind of sitting down and singing. They weren't worried as much about their voice sounding perfect. They would make the song kind of fit their voice.
I usually have an idea of how I want a song to sound, but I don't always know how to get there.
I guess you could write a good song if your heart hadn't been broken, but I don't know of anyone whose heart hasn't been broken.
Sometimes I might borrow something from a song I started a long time ago and see if I can grab something.
I love Emmylou Harris's version of my song, 'Sweet Old World.' Her intonation is great.
I'd love to do something with Bruno Mars because I love his voice and the playful and intelligent way he delivers a song.
No matter what, if you write a song that's great that everyone expects to be a hit, then everyone's going to be expecting another one from you. If you write a song that no one notices, you're going to want to write one that someone will.
I don't think a good singer or a great singer is either of those things without a great song.
Pop is like a puzzle: to write a perfect pop song, you never know, and there's so much that can happen in a second with a song.
'Safe Harbor' is a state of mind... it's the place - in reality or metaphor - to which one goes in times of trouble or worry. It can be a friendship, marriage, church, garden, beach, poem, prayer, or song.
When I'm up on stage, I don't think about anything except the song I'm singing. Anyway, the majority of my audience is female, and I can't think that many of them want to see me a French maid outfit somehow!
I've had three Eurovision winners: two with Johnny Logan and one with Linda Martin and even Jedward did great, because 'Lipstick' was a great song and they had a great show. It was a great visual.
When I was in college, I had a jazz radio show. I called it 'Excursion on a Wobbly Rail,' after a Cecil Taylor song. I used to run around the Village following Ornette Coleman wherever he played.
For a while, I felt a little self-impelled to write Lou Reed Kind of songs. I should have understood that a Lou Reed song was anything I wanted to write about.
I had a hip replacement a couple of years ago. I have a song about that. And why wouldn't you? It strikes me that that was a huge event. It's kind of funny and horrible and interesting, so why wouldn't one write about that?
The music is the shining path over which the poet travels to bring his song to the world.
In Holland, there's a song that goes, 'Redheads - they know how to kiss.' But that's obviously not a song I made. I don't know who made that song.
I'm usually really drawn to a song, and I know it would be good to cover if it sounds like something that I could write, or I wished I could write. Sometimes a writer just sounds like they're in your head, and that is really cool for me.
I never left jazz. The relationship between structure and improvisation - that constant conversation and tension - I've always wanted in every genre and song that I perform.
I let the song guide me. I move through the space that I'm given rather than trying to make an impression on the material. I'm curious to learn from the music.
When we're on stage doing a song about positive body image or another about female empowerment, everyone out there is super into it and right there with us. It's been awesome. I feel like we fit right in.
I used to listen to so many song bands that were all straight people, and my thinking on it was, 'Well, if I can kind of suspend my own perception of myself and listen to Rivers Cuomo singing about girls, then I don't see why a straight guy can't listen to a band called PWR BTTM.'
Look at Daft Punk and Kanye West. The song 'Stronger' was inspired by a Daft tune. Once the hip-hop scene opens up to all the great music that came out of dance, it will continue to spread to the more mainstream audience.
Black people lived right by the railroad tracks, and the train would shake their houses at night. I would hear it as a boy, and I thought: I'm gonna make a song that sounds like that.
I've never gotten money from most of those records. And I made those records: In the studio, they'd just give me a bunch of words, I'd make up a song! The rhythm and everything. 'Good Golly Miss Molly'! And I didn't get a dime for it.
The very first song I ever wrote was called 'I See Between The Trees,' when I was 9. It was really bad.
There's a variety and depth to the song topics I get to write about in children's music and books: being able to write about things I wouldn't normally write about, like a disappointing pancake, or monsters or opposite day is really different than writing about heartbreak and relationships.
When I'm doing interviews, I'm doing interviews, and when I am writing, I'm writing. I sit there with a musician and I write. It's the same process since I started writing in my twenties. I like to come in and leave with a finished song.
Lionel Richie, love song, OK, thank you very much, good-bye. And all of a sudden I realized that, in my career, what has made my career has always been the surprises.
I began writing 'The Cold Song' in the months following my father's death, when I felt this sense of loss, disappearance, of being right in the middle of life and wondering: 'What now? How to proceed?'
Certain social situations make me feel like a square peg in a round hole. Realising you can connect to the human race through song makes me feel less alien.
My parents' generation was definitely pre-telly, and they knew how to entertain each other. Everybody knew something that they could do - a song or a poem, or a piece of music. At school, I remember being a cat and then a budgie and then a bumble bee. I obviously thought all that was marvelous.
I've had many songs where I've gone, 'Oh, my God, this song is going to be huge!' but it wasn't the right artist, or something just didn't happen. It didn't make the song any worse. It just didn't line up. That does happen.
When I was asked to do a song from 'In the Heights' at the White House in 2009, I chose instead to do 'Alexander Hamilton' because I felt like I was meeting a moment.
I know the video platform so, so, so well. I know the perfect mixture of how comedic a piece has to be, what the video has to be like, what the song has to sound like, to make it successful.
I don't really see how any song can not feel contrived if it isn't honest, and how could I write honest songs if I don't write about stuff going on in my life and how I'm feeling?
I have never been more physically tired than after that first song of my first concert.
You hear a lot of rap songs about spending money. I thought, wouldn't it be funny to make a song about saving money because it's ironic, but beyond irony, I genuinely have pride in saving money.
'Ex-Boyfriend' is a really funny story that is that much funnier when you have visuals attached to it as opposed to just hearing it. I couldn't let a song like that go un-videoed.
Usually, I think of the song, and then the video plays out in my head as I'm writing the song. I started rapping to become a comedian, so I'm certainly thinking about the visual component of things beyond just the music most of the time.
One time, I performed 'Save Dat Money' with Justin Bieber. I was at his album release party, and he was like, 'Do you want to do the song?' I was also on a date, so the date met Justin Bieber, and I couldn't have looked cooler.
Nowhere else in America is everyone really ready to get outta their minds. No pun intended, like my song. Vegas is that place.
But the one thing I'll always know is that people don't know what they want until they get it. They didn't know they wanted a song about taking a horse to the old town road in 2019. But they did.
TikTok helped me change my life. TikTok brought my song to several different audiences at once.
'No Scrubs' is a mean song for a lot of reasons. If you're 18, 19-year-old guy, or even 17, your friend just got a license. You don't have a real job yet. It's like that song asks you to be an adult way faster than you should.
I'm all for making a woman-empowering song. I get that, and I think that's dope. I've got a daughter, and I think that's amazing. But when you're specifically picking on guys, that's when it's not right. 'No Scrubs' is the meanest, dumbest song ever made because they need to be specific in certain areas.
The type of music I make, it's not just straight-up rapping. There's emotion in it. That's why people feel each song differently. I get all my vibes from rock music, you know? All my melodies and all that.
I played the coronet first, and then I upgraded to the trumpet. First song I learned on there was 'Hot Cross Buns.'
Normally I begin writing a song with just with aim to express something, and sometimes I don't know what I want to express until a sentence comes to my head that will sum up everything about how I'm feeling at the time.
An upbeat song, for example, means one thing, but when you hear it with really vibey, mellow ambience around it, suddenly the same words may mean something else. Music is so powerful that way: It dictates and soundtracks our moods.
I always knew 'My Dawg' would be a hit, but I didn't even know what a hit was. When I made the song I knew it sounded hard.
In every song, there is a vocal element that doesn't have any words. I wanted to play around with how emotive and expressive my voice could be.
The need to make music, and to listen to it, is universally expressed by human beings. I cannot imagine, even in our most primitive times, the emergence of talented painters to make cave paintings without there having been, near at hand, equally creative people making song. It is, like speech, a dominant aspect of human biology.
If you feel like you're getting into a rut with a song, a night off usually fixes it.
If you give it good concentration, good energy, good heart and good performance, the song will play you.
Lord, when the song wants to pick up and go a little faster towards the end, it's hard for me to resist.
Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.
The way to do it is to put as much life into the song as I can. You can either get it to breathe or you can't.
There were no rules, other than that the song should sound good and be fun to play.
You can either make it come around or you can't. By the time we would be ready to record a song, we would know for sure that it was the best way we could do it.
I tweeted that I wanted Little Mix's 'Touch' played at my funeral - I think that'd be a great song to send me into the abyss.
When I was 13, I went on 'Britain's Got Talent.' I auditioned. I sang a cover of a song called 'White Blank Page' by Mumford & Sons.
In hindsight, I think my manager and I both knew that 'Someone You Loved' was a special song that we had to put out. But no one was expecting it to do so well.
Whether it's a song that might deviate from an artists' usual sound or even if it's still very much in their world, I think the more people opening themselves up creatively to collaborate with others, the better.
I'm musical in the sense that I can write a song, but I realised when I was learning the piano as a child that there were people who played it so much better.
When I write a song, I hear the music and words at the same time - one suggests the form of the other.
I think we have to assume we have one life. Though, having said that, I did write a song called 'You Only Live Twice.' I'll settle for that.
It's much easier to write a song for a musical than just writing a song because, writing for a musical, you know what the story is about, so you know what the songs have got to say.
I don't know any other lifestyle. I get up in the morning and I really do feel that the world is my oyster, and I start that way, the same as I would if I were preparing to write a song: put a blank piece of paper up on the piano and you go for it.
Corinne Bailey Rae I listen to a lot, and I'll hear Desert Island Discs and quickly write down the name of a song, and it will open up a new area of music for me. I discovered an Argentinian guitarist, Jose Luis Bieito, on Classic FM.
I aim my arrangements at what will fit and colorfully frame the song in the best way possible.
You know, there are times when you play a song over and over and over and you get a little tired of it and you let it sit for a while. It's like, you may love eating sushi, but if you eat it every single day, you're going to get a little tired of it.
I always felt I was scraping the bottom of the barrel trying to get a song together.
I've always felt I struck out with Doris Day. Her son, Terry Melcher, was a producer I worked for at Columbia, and one day, he asked me to go to her house to play piano on a song she was doing. So I get there, and she has about 30 dogs running around the place - turns out she's a dog rescuer.
I was playing with George Harrison one time, and George loves takes. This song was up to Take 160. I said, 'George, do you want me to play the same thing or 160 different things?' It drove me crazy because, in general, I'm ready to play my part.
I don't think there's any danger of me playing Indian music. However, I did a song of George Harrison's 'Beware of Darkness' that was kind of like that. That was an illusion. I was playing that on a thumbtack piano, and Jim Gordon was playing tablas. He's an amazing player. That was as close to India as I ever got.
The first time I heard Sam Cooke was in the 'Malcom X' film. I was with my father, and that's the first time I heard his song. I remember my father telling me the story of Sam Cooke.
I wrote my first song, 'Conversion', to this little hip-hop instrumental. I went to an open-mic, plugged my iPod into the P.A., and sang over the beat.
You don't necessarily have to write a song to make it your own. After all, Elvis never wrote a song in his life.
I've found an extraordinary thing happens where I flash an entire finished song. I could be walking along, say over that bridge, and I see and hear the whole thing, words and music.
When you've sung the same song a million or a hundred thousand times, there are always moments when you drift off and go into automatic.
That's a big gift when people say to you that a song helped them or brought them to some place in their life where they needed to be.
I've woken up from dreams and the whole song is there. I'm listening to it in my dreams. I consciously have to wake myself up and get a tape recorder because I hear it like a record.
I do quite like that Andrew Lloyd Webber song from 'Cats.' What's it called? 'Memory?' Sends shivers up your spine.
Each song is a lifetime, it begins and ends, and there's a journey taken within the songs.
When we work together as a group we don't contribute individually as much as I do when I'm working on my solos. I try to give as much input when I'm working on a song or album but as a group it's kind of difficult since there are five of us. Having all of us contribute to the same extent is a little more challenging than when doing our own things.
All the songs are good, but 'Press Your Number' was fixed to be my favorite song from the beginning.
I wanted to write a song that can comfort you, and make you feel like I take you to 'Heaven.'
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