Song Quotes
Most Famous Song Quotes of All Time!
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It's arguable whether a hit song is gonna add to the business a film does. There are plenty of films that didn't do any business and sold a million albums.
If a musician wants to be an actor, everyone thinks that's pretty cool. But if an actor wants to play a song, even if they've been doing it for 40 years, that's bad news.
I just feel like this guy who's visiting the music business over the weekend. Every time I write a song, I feel like it's never going to happen again.
My favourite piece of music is actually 'The Dark Side Of The Moon' as a whole. For me, it's the most perfect and brilliant example of rock song writing.
'Feel It Still' came around pretty much as organically as you can put a song together.
That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.
But in the finished art of the song the use of words has no connection with the use of words in poetry.
A song is fire. You react to it primally, instantly. You don't have to decide whether you like it, and you don't really have to sit down and think about it much after you're done listening to it. It really does run through you like wind.
I don't know why people are so surprised by my live performances. My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears or inspiration. Otherwise, why should I do it?
My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears, or inspiration. Otherwise, why do it? It's the communication.
I kept thinking, 'How do you make a modern musical?' Then it became clear that I could do it just like a small indie art-house movie, very naturalistically. I could create a world where it's o.k. to break into song, without an orchestra coming up out of nowhere.
The beautiful vagabonds, endowed with every grace, masters of all climes, and knowing no bounds - how many human aspirations are realized in their free, holiday-lives, and how many suggestions to the poet in their flight and song!
The very idea of a bird is a symbol and a suggestion to the poet. A bird seems to be at the top of the scale, so vehement and intense is his life, large-brained, large-lunged, hot, ecstatic, his frame charged with buoyancy and his heart with song.
Occasionally, you get a nice surprise when someone covers your song in an extraordinary way.
I wish I was really talented in music because then I would be doing it. I felt that I could write a decent song, but it was a big struggle.
I always communicate musically. I want my band not only to learn the form and feel of the song by ear, like I do, but also have the freedom to contribute.
I play guitar all the time, and I'm constantly thinking of songs... Every time I pick up a guitar, I come up with different riffs, all different bands I've been in. Sometimes there is a song or riff that could only belong with Slipknot, and I just can't use it for anything else, regardless of whatever happened.
I wasn't worried about flash or persona... It's all about writing a good, solid song.
Then a friend of Jim's suggested we make a theme song to explain the story, and this is where the Mads came from. Josh and I wrote it into the theme song.
I was just in the middle of singing a song about how broke we were and now my cell phone rings.
'Turn to Stone' was written about the Nixon administration and the Vietnam War and the protesting that was going on and all of that. It's a song about frustration. Also, I attended Kent State.
Most of the time, I write songs with the arrangements all at once, in my head. There's the producer side of me that's always thinking sounds, like, 'Wouldn't this be a great sound if it existed to put in front of a song, to open it up, and then, when it did its thing, something else would happen?
You can only follow what's on your mind. In fact, a song is something you write because you can't sleep unless you write it.
After a while, no matter how much you love any pop song, you're going to get tired of it. That's the way it is with any entertainment. It's good when you first hear it or see it, you like it for a while, then it gets old. It gets chewed up and spit out and it's done.
Whenever I hear somebody cover a song, I don't like to hear it stray too far from the original. I like to hear some of the new energy that a band will put into it, but you kind of want to hear some of the basic parts of the song. I mean, that's what makes it the song that you like.
In my fiction, there's a lot that's borrowed from music. It's never like I'm taking a lyric, but more the mood of a particular song. 'The Boy Detective Fails' was like listening to 'Eleanor Rigby' by The Beatles, this very melancholy-but-poppy song.
When we try to write a pop song, we go for standard pop arrangements, even to the point where we will go to the key change at the end, which is really cheesy.
Even Crazy Horses is a good song, by the Osmonds. I've known many bands who have covered that. It's just a great song. I bought it in a brown, paper bag because I didn't want anyone to know I had it.
I wanted to write a song that's known to the world as a classic, stadium-rock anthem.
Writing a song is actually quite easy. Writing a good one is very, very difficult.
Any idiot who knows five chords can bang a song together. But it's probably going to be rubbish.
I would like to be able to do a song with Ray Charles, before we both get too old.
Flower was a good metaphor for growth. The song is obviously about sexual responsibility, so that was the main metaphor. Also, it's like knowing who someone has been and remembering and appreciating that, but really appreciating what they are now even more.
One of them would definitely be the Nelson Mandela gig, when I played the tribute song for him. He was up and dancing, and he really enjoyed it. It was a really lovely occasion.
Robert Burns enriched Scottish song with his genius and is mainly responsible for the rich treasure house of song that we enjoy today. He collected folk songs, retained the melodic line, kept what words were usable and rewrote the rest. He didn't claim ownership.
Actually, have you ever heard Sylvester's live version of 'Mighty Real' that was recorded in San Francisco? If I listen to that, I never fail to get goose bumps all over. I go crazy. That song just makes me so emotional.
I've been fortunate that when Frank Sinatra was in concert, he would say, 'Here's a song by a wonderful young songwriter, Jimmy Webb,' and I'd be in the front row and stand up. That gets people talking about you.
Not a lot of people know I wrote the lyrics for the Arsenal club song, 'Good Old Arsenal'. We had a competition on ITV for it, and none of the entries were any good, so I approached their manager, Bertie Mee, and asked him if he would let me have a stab. He did, and within a few weeks they were singing it at Wembley on the way to the 1971 double.
If you get 100 million streams on a song and you're only being paid on 20 percent, the check's not going to look good. The money's not going to look fair.
Most times, you walk into a room, and you don't really have a starting point. You have to create the starting point, and normally you'd do that by thinking of a title or a concept for a song, then working back from there.
The thing I try to do the most is to play in terms of the song and play in terms of what I'm hearing.
Someone like Katy Perry - I like her writing because I listen to music as a songwriter. I like a lot of her songs - like, 'Firework' is a song that I think I could write.
My favorite song? 'Amazing Grace.' Anybody singing it. But the best it'll ever be done is by the Scottish National Pipe band and their National Orchestra. It'll bring tears to your eyes.
Instinct taught me 20 years ago to pace a song or a concert performance. That translates into pacing a story, pleasing a reading audience.
I got really hooked on this riff in the middle of this song called 'Minor Miracles' by my friend Eric Johnson from Fruit Bats. I got the tracks for that from him, and that turned into 'Here in Spirit.'
I heard the Abbey Lincoln song 'The World is Falling Down,' and it just resonated with me so deeply.
When I was maybe three years old, I was obsessed with this song 'Leader of the Band' by Dan Fogelberg. My mom took me to the mall and bought me a 45 of it. We would listen to that song all the time.
'Circuital' was just so much about us as a band. We captured every song live, including the main vocal. That is probably my favorite My Morning Jacket record because it's really the essence of us being us. The solo record is just a completely different essence of just me trying to figure out stuff.
There's so many great things that happened at the Grand Ole Opry in 50 years. You get the chance to go out and visit with your peers. You get a chance to sing your song and say hello to so many friends and neighbors and all that you have. It's just - well, it's a second home.
I do believe that a poet would possess a stronger intuitive sense of phrasing with a rock song. There is a way to tap into the emotions of an audience simply by the cross of a certain phrase, even a single word, against a certain chord.
When people see you have a song on MTV, they think you are doing well - but you know, the way the traditional label deal was set up, it is really hard for an artist, unless they sold a lot, to see anything.
I have never made a cent off a record in my life. I have never recouped enough, and I never sold enough. When people see you have a song on MTV, they think you are doing well - but you know, the way the traditional label deal was set up, it is really hard for an artist, unless they sold a lot, to see anything.
I'm an older woman who's not going to have a shiny pop song ever again, so that gives me license to do whatever the hell I want.
In my music career, I never was interested in working and writing and creating songs based on what kind of rewards I could receive in return - a hit song, per se, is what most contemporary artists have to deal with when they deal with a label.
I was very small when I started making music. I think the first song might have been when I was, like, in grade one, maybe? It was really ironic, cause it was a kid talking about taking time with growing up.
I don't know how other people have a topic or have a goal when making a song, like, 'Let's write about this, or let's write about that.' It's kind of difficult for me. Personally, I like vibing out and freestyling.
If I make a song where I'm happy, I sound completely mad - I think my voice is better-suited for sadder songs.
Christmas in the Buckley household is hilarious - at the family dinner, we all have to do a song, no matter if you can sing in tune.
At the time I just was like, I can't believe I am on the show, and the first thing I have to do is an entire song and dance routine for the whole cast of 'Mad Men.'
I love movie musicals because I think there is an amount of emotional honesty that's needed to portray someone who feels so deeply that all they can do is break into song.
I used to drive my brothers nuts in the car because I would sing in their ear every song on the radio.
When I get into the studio, it's not about trying to get a good song, it's about whatever comes naturally.
I have about 4 albums of Disney songs, but the embarrassing part is that I know each song word for word, and have dances choreographed for most.
Sometimes a song indicates that it wants to be about a certain thing. And then if you write it, you find that it is about something that you've done.
If somebody sings a song that I wrote, I feel like it's a nice point of validation for the song, because it shows that the song is able to stand on its own. I like that.
If you write a song, and you go into a restaurant, and there's a guy with a piano singing and he's playing piano, singing your song, or you hear it at a wedding or at an airport... it's fun!
Our songs did not transcend being R&B hits. They were R&B hits that white kids were attracted to. And if people bought it, it became rock & roll. That's marketing. Why couldn't it still be R&B? The bass pattern didn't change. The song didn't change. It was still 'Yakety Yak' and 'Searchin'.'
I don't think I've ever actually written from inspiration, actually had a song just go, 'Bing!' I only recall that happening to me twice - once was with 'Terrapin' and the other was 'Wharf Rat.' I mean, that's twice in a lifetime of writing!
'Wild Horses' is my favourite Stones song. It's so beautiful. I don't mind that it was written for Bianca.
Nashville is the business center. They forget that the bottom line of it all is still the song.
They keep the song as street as it needs to be. It's got a good catchy hook where it can do what it needs to do on the radio, but they keep the song street where it will keep credibility in the hood.
I've written songs before, and I don't want to share them with anybody. It's really personal for me, that sort of creative outlet where you put your emotions to paper or put to song. I don't do it that much anymore, but to let someone in on that outlet and to have it susceptible to judgment is scary.
Every generation has their favorite Spider-Man television show. For a lot of us, it's the one that has the song, 'Spider-Man, Spider-Man, does whatever a spider can.'
Def Jam, they've shown nothing but love as far as supporting my records. We haven't missed yet, radio-wise, and every song that they've actually tried to support has been No. 1.
It's funny how a song can start in your mind, and then when it goes through all the filters, it ends up in a totally different spot.
That is the true joy of being a solo artist. I can do whatever I want. I can go wherever I want. I can show up with my guitar and my song, and it can sound a hundred different ways. That's the freedom of being on your own. The flipside is: That's you on the cover. If it sucks, it's your fault.
I've always gone into the studio with a very clear understanding of a song, of the words or, if it's an instrumental piece, of the melodies, and that never changes.
My aim is for every song to have a purpose - for you to be able to say, 'This song is about this.' But love and heartbreak are some of the most abstract subjects.
Even if I wrote a song about math or animals or whatever, there would still be the question, 'Why did you write about that? And what does it say about you?'
The way to write really good songs is to write about the things that happen in your life and where you are in the moment, and writing about stuff that happens in your 30s is not the sexiest song subject.
I think sometimes when I sit down to write a song, it doesn't come out naturally, but when you are writing an email to someone, especially if you are writing to a stranger, you write much more spontaneously, and it's freer.
I've actually performed at Gay Pride in Atlanta three times in my career. I've always had a large gay following, particularly in the lesbian community. I am grateful for that. To me, it means my music transcends categories. It also means that I'm a cute girl singing a rock song in an alto voice!
Usually, if someone wants an inspiring-type number - patriotic, gospel, big love song - then I think you do think of me.
I'm quite sure we all have a sweet love song that we dance to or recall from our wedding or something, like 'At Last,' but I think that it is the love-gone-wrong songs that touch even men.
Old school Janet Jackson is always good. I usually go old school, it's very rare that I pick a song from nowadays.
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