Song Quotes
Most Famous Song Quotes of All Time!
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Revising a screenplay is much more frustrating than revising a song because you have to read through the entire work again while you are changing stuff. It is a lot easier to edit a song.
The song Dakota was first written in Paris. I was doing a promo trip. It was snowing and the hotel room was really cold and boring and for some reason I just had a go of the guitar and the song came pretty quick.
At college - I went to Yale, and everybody's very smart, and everybody has their thing that makes them special, and people at Yale would pretend they didn't recognize me. Only after they'd had a couple of drinks would they start singing the 'Life Goes On' theme song.
I grew up listening to The Beatles, Led Zeppelin, and every record those bands put out was very unique in its own right. I have that mentality. too: if a song sounds like something I've already done, then I'll throw it out, because I want each record to be a progression.
I've never wanted to name an album from a song title if I could avoid it because I like it to be a body of work.
If you can make a movie, make one. If you can sing a song, sing it. If you can write a play, write it. If you want to run for office, run. But do something to make this world a better place.
I don't hear anyone out there that sounds like us. They can try but it's in the sonics, the whole carcass of the song. The way it attacks you is so well engineered. No one else can do that. They don't have the ability to make that noise.
I think my main two songs are 'FWU' and 'Get Away.' 'FWU' made a cool point because it came out right after Chris Brown's 'Loyal' came out. I combated it with 'FWU,' a song that basically says, 'These women are loyal.'
I will be very grateful that I get to go out and play a song and get well paid for it.
So many women have experienced horrific forms of male violence throughout their lives, and why isn't there a song about how you get depressed because of it?
I bring my classical training - some of it, but not all of it - and also my background and culture, to spirituals. And I try to leave room for that unpredictable factor, where the feeling of the song is allowed to come through. The same ethos can be applied to singing Mozart, or Schubert, or Bach. It's not just about what's on the page.
For me, with the Blue Man Group, I got asked. It was for the Royal Variety Show, which was something I always wanted to be a part of. I'm really interested in things people don't necessarily expect. I did a pop song, but I did it in my own style.
Since I have been singing for so many years, I don't always need to approach a song quite so laboriously and meticulously.
It is important that the audience should understand every syllable of every word, for only then can they grasp the meaning of the song.
My first songs were about animals and shoes. I wrote one song about PF Flyers, and one to my fish.
For me, I've always wanted to be a nun. I mean, I think about what it's like to be a nun. And I've always been fascinated with nuns, and I have a nun collection, I've been collecting nuns for 20 years. And I have a song that I wrote, 'I Wanna Be a Nun,' when I was 25.
With 'Love Shack,' once we put that chorus in, it did have more of a song structure. Even though the verses are all kind of different, the chorus was there along with 'The Love Shack' - I think that really made it a hit. Once we heard it in the studio, we played it for R.E.M., and they were like, 'Yes this is a hit.'
The Beatles had a huge impact on me. I did 'Strawberry Fields Forever', and we worked it out in an open tuning. That's such a beautiful song, and I think I did it in a different way.
We've always been a band who wants to put our money where our mouths are. We have political songs, but we don't like to hit people over the heads with stuff. So it's better to do benefits and causes and talk about it later rather than always trying to put it in the song.
The first song that I remember writing in its entirety was when I was 9 years old. I wrote it on a bus, on a field trip. It was called 'Mystery Man,' and in retrospect, it was the beginning of my exploration of what it was like to have a man in your life, because I didn't.
When I was driving home after registration, I heard this song on the radio, a guy singing about not ever going to class in college and always hanging out and singing for his friends. I laughed and said, I can relate, because it was so much like me. I realized right then I would pull out of school and pursue a music career.
Very often, writing a song is a process that happens to me rather than one that I instigate. I feel a song coming on and, like a sneeze; I wait for it until it comes.
I always did plays. When I was in kindergarten, I got chosen to be Alvin in 'The Chipmunks.' We did a Chipmunks song. I was always a natural performer. It was easy for me. I danced and I sang, and all that stuff. I felt like I'd be something in the arts, but it vacillated between being a dancer and a singer, or whatever.
If I know a song of Africa, of the giraffe and the African new moon lying on her back, of the plows in the fields and the sweaty faces of the coffee pickers, does Africa know a song of me?
For a movie, you have to make sure the lyrics are consistent with the rhythm that is given to you. But, at times, during the song's recording, you find out that your words are not appropriate for the track, and so you have to change them.
I have breakups that I can credit to every song. In my twenties, I picked people who would create that dysfunction and drama, so I could draw upon it.
There's a lot of craft that goes into achieving a hit song - at the beginning of your career, you're usually more inspiration than craft, and you get great when those intersect. A skilled songwriter can get you to that intersection.
A great song should make you stop everything that you're doing. You should be so into it that you just can't imagine doing anything else for that moment. You wouldn't even dream of picking up the phone.
Music rhythms are mathematical patterns. When you hear a song and your body starts moving with it, your body is doing math. The kids in their parents' garage practicing to be a band may not realize it, but they're also practicing math.
At the beginning of a new project, often before I do any actual writing, I collect photos, quotes, song lyrics, and even objects that relate to the characters or the world I'm creating.
I recorded my first song at 15. But I started rhyming a few years before that. At first it was trading lyrics at school. We'd get in a circle in the playground with a beat-boxer and spit rhymes. Then it would turn into a big gathering after school.
When I'm making a song, I try not to think about audience or genres. It's free-flowing. Natural.
As a songwriter you have an umbilical cord to the song and it's hard to expand on your understanding of the lyrics. Whereas when you cover a song you can create your own reason why you're attached to it.
There's a few times in the past when I wrote a song, and I put the words together, and they were very clear pictures, and I felt like I was putting together a really good story. But I don't think I was ever really able to stay on that. What I've sort of developed lyrically is more about the sound of the vocals and what they are.
I kind of miss writing songs the way that I used to write songs, in the sense that I would just sit down, and all these words that told a story would come out. There's one Bon Iver song called 'Blood Bank' that is more representative of an older lineage of songs, which I like and I sort of miss. But it just doesn't happen anymore for me.
What I'm doing is basically the same as Bob Dylan did with folk songs and Woody Guthrie songs, the same as folk music's always done. I'm not going to sing about ploughing, but I'll write a song that sounds like it should be about ploughing.
Even though other people wrote my songs I put my stamp on them. I have a connection, but there is no truer connection than an artists and their own song.
I would love to do a song with Janet Jackson. Janet was, is, forever will be, the ultimate. She's the ultimate dream girl for every guy - and for every girl.
My go to karaoke song is 'Stars' from 'Les Mis', which is Javert's song. And it's super strange, and every time it comes on people are really weirded out, but that's what I do.
I basically just write stream of consciousness to a certain extent. I let the song kind of go where it wants to go.
I just sat down and thought, I'm going to write a song today, I'm going to give it a try. So I just stuck it on a tape like everything else. That was just another song.
I have struggled for decades now with the fear of and resistance to change - mostly in the realms of technology, transportation, and the ways people choose to communicate. If I had a theme song, it would be that lovely song 'I'm Old-Fashioned,' as sung by Ella Fitzgerald.
The spooky thing is that two weeks before the Grammys, I wrote down my goals, and one of them was, 'To be on the top of the Billboard charts with a song I wrote and performed.' ... It's completely unheard of.
I've forgotten lines all the time. Sometimes I switch verses in a song. It's just hard not to when you're doing the same thing all the time.
I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.
I had this revelation, you are a lot better at the between-song stuff than you are at the song stuff. That was devastating. And I usually find devastating things to be pretty valuable.
I'll try not to let a day go by without making a song. I don't think I've created a lot of music.
As a new artist there's always outside influences trying to tell you how to make a song better for radio and how to do your hair.
For all that has been said of the love that certain natures (on shore) have professed for it, for all the celebrations it has been the object of in prose and song, the sea has never been friendly to man. At most it has been the accomplice of human restlessness.
I was very, very fortunate that 'Chico and the Man' was on TV, that helped me quite a bit. Of course, having the No. 1 Christmas song in the Spanish market, 'Feliz Navidad,' doesn't hurt either.
I make music because it helps me. I feel better after I've written a song. I listen to my own songs, and they make me feel and think about stuff I'd done or someone said to me, and I feel a bit better.
When I found 'New Chain' by Col3trane, honestly, I couldn't stop playing it. It's a good road trip song because the beat just drives on.
Presented with a song like Exit Music, It's impossible to know what to add without actually making it worse. How can you play along when It's already there?
Most of the time, comparing printed song lyrics with poems is like comparing recipes with food: that's to say, patently unfair.
Anyone who's ever read the lyrics of an already cherished song has most likely encountered that hollow sensation of something missing, the absence of certain emotional integers. It can be like viewing a loved one's X-rays.
When we finished 'Stop Making Sense,' we went right to the San Francisco Film Festival for the world premiere, and people swarmed the stage and started dancing before the first song was even finished.
Well after 'Fast Car' was so huge, everyone was asking me, 'What's the next song?' At the time I just had ideas I was working on, but it was very clear I needed to finish another song ASAP, and that's how 'Perfect Strangers' came about.
'Dirt on My Boots' was pegged as the second single from 'California Sunrise' from the get-go, and we felt like it was just a fun song to go with.
Radio has had my back since 'Missin' You Crazy,' which was a very traditional kind of song.
I love the story of the guy coming to Nashville and then kind of getting set down and told, 'This is how the town works,' which, I've totally been there. But the coolest thing about 'Out of Style' is it's a song within a song.
We travel so much as touring musicians and artists that sometimes, when you hear a great song that you really think could be on your project, you go ahead and record it instead of try to write it.
There's something about prime time television and the way the song is going to come off on the air. I'm very concerned, very self-conscious about that.
Ringo Starr may not have much of a voice, but when he sang a song on a Beatle album, it had its own special charm.
The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.
Aretha Franklin's 'Let Me in Your Life' is one of the few recent R&B albums that places the emphasis entirely and deservedly on a voice. Many R&B producers have been making records on which the singer is outshined by the song, the arrangement and the sound.
Some machine-y music is great, but you can apply any groove to any song now - there's literally a massive drop-down menu on most programs. And that's what takes the human being out of the process.
I always want to approach records from where it feels very graspable. You know what the song's about, but it's presented to you in a way that's like, 'I never heard something like this before,' but it doesn't push you away.
I went to a radio station on Long Island in 1982, and thank goodness for me, it was so new that there was no receptionist. So the DJ opened up his booth, and took my tape and listened to it and thought it was a hit song.
I've never really had anybody close to me die. I think the song is about a feeling that I have that, it still applies. It's a feeling of longing, once again.
Just having the pain of being alive without anything else, whether it's good or bad. There's a lot of serious songs on the record, you know. That song is just about feeling like a fish out of water, feeling like you don't belong on the planet sometimes.
I think people should be able to have at their behest, like, four hours of music, entertainment, visual knowledge, different pathways. That's what I'm trying to do with modern technology, not just another song and another song.
I think most bands probably peak on their first album. We peaked on our third album. On the first album, I feel like I wish the production was a little better. I'll always hear a song I don't like. I look for what I could have done to make it better. It's always difficult for me to listen.
Every redneck's dream is to write a song and have it go on a fishing show.
A day-time song like 'Word Starts Attack,' I want to make your heart blow up and make you want to punch the air with your fist. It can't be ponderous.
When I record somebody else's song, I have to make it my own or it doesn't feel right. I'll say to myself, I wrote this and he doesn't know it!
There were numerous times where, at the end of a week of working on a song, there was a part of it that we still weren't feeling, so we'd scrap the whole thing and start from scratch the next week.
We were about ready to go out on the road with Maiden, and Kerrang asked us to do an Iron Maiden tribute song. While we were home, we recorded that. And that was it.
I come from the performance world, but the idea of a worship song is different. It's useful music.
When I write a tune - and it's been like this for many years - I always hear in the back of my head some sort of vague, orchestrated, fully fleshed-out big-band version of the song with other parts going on.
If I found a cure for a huge disease, while I was hobbling up onstage to accept the Nobel Prize they'd be playing the theme song from 'Three's Company'.
Because of my song 'Sam Stone,' a lot of people thought I was interested in writing protest songs. Writing protest songs always struck me as patting yourself on the back.
Storms of every sort, torrents, earthquakes, cataclysms, 'convulsions of nature,' etc., however mysterious and lawless at first sight they may seem, are only harmonious notes in the song of creation, varied expressions of God's love.
Nature is ever at work building and pulling down, creating and destroying, keeping everything whirling and flowing, allowing no rest but in rhythmical motion, chasing everything in endless song out of one beautiful form into another.
Where does a man get inspiration to write a song like that? Well, he gets it from the landlady once a month.
A lot of Woody Guthrie's songs were taken from other songs. He would rework the melody and lyrics, and all of a sudden it was a Woody Guthrie song.
I'm the guy who wrote The Authority Song. Did they think I was kidding? Did they think it was only a song to entertain?
I'm not blowing my own trumpet here, but I made a rap song 20 years ago with Afrika Bambaataa.
To have a song work for the movie, it can't just be written apart and shoved in. It's got to come out of the action. It's got to talk about the characters, not the story: it has to augment that action.
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