Song Quotes
Most Famous Song Quotes of All Time!
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I have always thought it was important to maintain some connection for myself to what it takes to make a song work by myself, to put a song across to an audience by myself.
I try to find nice chord changes, that's how I love to start, and then I start trying to knock it into a song, knock it into shape.
When you do a song new live on stage, it's kind of a bit weird until it gets worn in, you know, like oiled up a bit. It's still a little bit stiff until you really thrashed at it for a few weeks.
If I can drive down the road in my car and listen to XM satellite, and when a song gets beamed into my car, it can tell me who wrote the song and what the damn lyrics are, why, when you broadcast a digital signal of a film, can't it speak to your television to set up a list of settings to show the film in the way that it was meant to be shown?
I was probably 16 or 17 when 'Core' came out, and I just remember how Scott could cater to the song and create these characters. That blew me away.
I pretty much started the lyrics and I hit a roadblock and I think Kerry finished them up. Then I came back and did the ending part. The whole 'Raining Blood.' That part. But it pretty much came together easy. It's a short song.
Whether it's a song you write or a television show or a movie or professional wrestling, there are three components to IP law. There is publishing, there are writers, and there are performers. The publisher is always the owner.
I don't care about the rules. In fact, if I don't break the rules at least 10 times in every song then I'm not doing my job properly.
If the song makes it and people like it, then I guess that's all that matters, really.
I've always felt that the quality of the voice is where the real content of a song lies. Words only suggest an experience, but the voice is that experience.
I didn't write this song. Someone was talking in a room. I just wrote down everything they said.
Sometimes, you try something, and it works in terms of success. That doesn't mean you like what is a hit. Sometimes you like the most obscure song on your album.
I'm always aiming for some magic in films if I can find a mystical quality either in a song or in a moment or a character's intention.
I don't think we should speak so much. What if we were singing a song? We split, whilst singing.
If you sing a song of peace with enough gestures and grimaces, it becomes a war song.
The beauty of music is that everyone hears it their own way, and every song you hear leaves an impression on you that alters the way you hear everything from that point on.
When I get bored, I'll zone out, and I'll just sit in front of my computer and start writing any random song that comes to mind.
By the time I got to record my first album, I was 26, I didn't need pen or paper - my memory had been trained just to listen to a song, think of the words, and lay them to tape.
Everything I do is a learning experience. It's still fun to me because I grow with every project and every song.
I want people to understand balance. I might make a banger, and that's the way that I feel, and then I may want to make a song that's really deep.
I mean, I could just go round and use session musicians for every song, but I don't find that helps when it comes to setting up a band for live. Derrick has been with me for donkey's years.
I think the simple message of that song is what attracted me to 'Every Day.' It's one of those simple yet profound lyrics.
There's nothing worse than looking out and seeing some guy with his arms crossed while you're singing your heart out on a new song, and he's going, 'When are they going to do 'Me and My Gang?''
One has to sing from the heart to let it touch the right chords. Unless you enjoy the song, your listener will not either.
For listeners, the song 'Kehne ko jashn-e-baharaa hai' looks a very easy number. In fact, it was a challenge to sing the song as I had to really suppress my voice and make it appear like a casual track.
In India, there's so much strife, pain and trouble that song, dance and going to the movies is respite.
Song, dance and cinema are so deeply within the Indian culture and with so many cultures incorporating their elements too, it has become a wonderful collage.
When I was a child, I was referred to as the Danny Kaye of the family, because I was always impersonating and mimicking people. I was a song and dance man.
I was in band that played mostly covers for a while, and the bands that we would cover were, like, the alternative rock bands of that day: we did a Jane's Addiction song and a Faith No More song. All the kind of alternative radio of that time, the late '80s, basically.
I grew up in a time when the only musicals were animated musicals because nobody wanted to see people to break into song.
The easiest songs to write are pure fiction. There is no limit to how you can tell the story. I find it difficult when I'm replaying an event through a song.
There's a certain feeling of giving, a certain feeling of generosity in love songs. When you sing a song of love, you're actually giving something to yourself, too. You're singing and casting these affirmations of love out into the universe.
I call it sacred geometry. When everything's just right and it feels really balanced, so that when it unfolds to the next part, you feel totally familiar and at ease within the song.
To look for some kind of insight or meaning in pop songs is not really - well there's plenty of other places where you should probably look first before you start looking for it in a pop song.
If you're somebody who writes songs or writes fiction, a writer that people pay for your opinion in any way, you shouldn't be the least bit uncomfortable giving it to them. People want songwriters to tell them how they think and how they feel. That's what a song is. That's what I want to hear in a song.
At the end of the day, I'm just trying to write a song that I like, that I'm not afraid to turn loose on the world. I do read a lot. I know a lot of people who read more, but I do try to keep a book in my hand most of the time, and I think that informs any kind of output that I'm going to have.
Sometimes a song becomes rhetoric, but you have to really empathise. You also have to leave room for both sides of the argument: even if you're not telling the other side, you have to put that part in parentheses and make sure it's understood.
When somebody asks me what a song or a line is about, I feel like I'm not done writing it yet.
It's amazing when you're playing to a crowd who barely understands English but they're singing parts of your song back to you.
I love building a song up from nothing and jumping from one instrument to another.
I grew up listening to all kinds of music, everything from country to rock, pop, R&B and even rap, so for me, music is music and a great song is a great song.
I spend time editing and massaging each note. Then I start layering with different instruments, adding harmonies, counterpoint, and whatever the song calls for. Then I arrange it into a whole piece, and decide where I need to add live musicians. It takes a lot of time, but it is very satisfying once it is complete.
I thought it would be fun to write a song where a bunch of my favorite guitarists contributed, so I started 'Valley of Fire.'
It's nice if people ask to use your song. You have to make a decision as an artist how you feel about that.
Black holes can bang against space-time as mallets on a drum and have a very characteristic song.
With every record, with each band, I just try to make a song good. I'm not so much focusing on my technique. There are a million better drummers than me. I try to adapt to the songwriter; I try to adapt to the situation and retain my sort of melodic power. My goal is for the band to be good.
I did the co-writing thing all through the '90s and I got one hit out of it - a Keith Urban song called 'But For The Grace Of God' - but then I got burnt out.
I try to make everything I write a little bit different. Those songs that go, 'I love you so much and you love me,' they're boring. If I'm going to write a love song, it's going to be a little bit tortuous.
Sometimes I would write something that was so private, people would say, 'Make it more universal.' I never liked that idea. I always thought the more personal a song was, the more people would want to hear it.
For some producers who are technical-minded, making the song sound good is easy, and getting the emotion into the song is harder.
When I started writing poetry, it was always in very hip-hop influenced spaces: Someone would teach a Nas song side-by-side with a Gwendolyn Brooks poem, and we'd talk about the connections between those things.
I read 'Song of Solomon' by Toni Morrison in college, and it just blew my mind.
It's important to me that there's not just one story told about our city. 'LSD' is an ode to Chicago, a song for the complicated love I have for my city.
I love when a song is conceived as a jigsaw puzzle in the studio, and then it's a natural to play live. That's my gauge of success for a song.
A Hank Cochran song in the studio is spiritual. It's like singing a hymn in a church.
What a character eats is a detail - like eye color or a favorite song. But food is also our lifeblood.
After a decade this glum, we deserved a shot of 'Glee,' a show that restored our faith in the power of song, the beauty of dance, and the magic of 'spirit fingers' to chase our cares and woes into somebody else's backyard.
More often than not, changes had to be made in order for a song to make sense, and by the end of it, it would just be something different. Lyrically, I am usually fairly confused until something is finished, and then it makes perfect sense to me.
Facing inward, join hands so as to form a small circle. Then, without moving from their places they sing the opening song, according to previous agreement, in a soft undertone.
I think most of my songs are based on an emotion and in every song I write, there's at least a partial truth.
The band set up in January and just started rehearsing. If there was a song, we'd just rehearse it as a band, and it would get arranged as a band, and it got changed around a lot.
It's hard enough to make a good song and a good recording of that song. But to try to tailor it to some outside force is just like - It's never been a factor in what I've done or what the band's done.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
If you're writing a song, you have to write something that can be understood serially. When you're reading a poem that's written for the page, your eye can skip up and down. You can see the thing whole. But you're not going to see the thing whole in the song. You're going to hear it in series, and you can't skip back.
When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.
In song the same rule applies as in dramatic verse: the meaning must yield itself, or yield itself sufficiently to arouse the attention and interest, in real time.
Sometimes I have thought that a song should look disappointing on the page - a little thin, perhaps, a little repetitive, or a little on the obvious side, or a mixture of all of these things.
It's always nice to be able to capture your life's experiences in a song and hold the emotion in that way.
In a way song writing can almost be detrimental, because suddenly you find an outlet that is a kind of cheating. You don't need to have direct communication. You can say, 'I can't describe it to you, but I will record it and send it to you.'
On the song 'Dangerous,' it feels like a teenager picking up a new instrument and writing something with all of that naive excitement.
I like 'Goodbye My Lover' because it's a really personal song and I recorded it in my landlady's bathroom in Los Angeles. She had a piano in there and for me listening back to it, it actually sounds like the voice I hear in my head. It's so close to what I can imagine.
Everything is Song. Everything is Silence. Since it all turns out to be illusion, perfectly being what it is, having nothing to do with good or bad, you are free to die laughing.
I think Sam Smith's dad got a huge loan or something to help his career. Those things can help artists get attention, but I guess my song 'Say You Won't Let Go' proved it's about the song.
Both Springsteen and Michael Jackson, who had these huge productions, could always scale them back down to just a song and a melody. All of that influences me. I also try to be a fictional writer, and sometimes I get close, but the things that resonate the most with me - and with everyone else - is what's real.
At the close of the day when the hamlet is still, and mortals the sweets of forgetfulness prove, when naught but the torrent is heard on the hill, and naught but the nightingale's song in the grove.
If all the elements are in place, you should get 80 percent of what a song has to offer no matter how you hear it, whether on headphones or on the radio.
My mum especially listens to music in a way that is incredibly feelings-based. There's virtually no snobbery about what sounds are in it, she just wants to hear a song and that is quite refreshing.
I am a person who sings. I know not everyone is, but that won't keep the Spirit from putting a song in your heart.
It's a little gross to put yourself in every song. I mean, how interesting do people really think you are?
Songs are not better just because they're emotionally honest. To write a song well, you have to put some work into it and grind it out.
We've all had that experience where we hear a song that we've liked for many years, and we finally hear what the writer tells us what it's about, and you're often disappointed.
Every song you write you think is the last one you're going to manage. You put everything you've got into the song, and you've twisted it and pulled at it and dug in and found a way to complete it. To get another one is the trick.
I'm not somebody who carries around a notepad and writes songs all day long. I don't imagine everything I think of is worth being in a song. So I tend to collect notes, and I set time aside to go to work and write songs.
There's only so many things to sing about, so what's going to make a song appeal to you more than someone else's is just a unique way of saying the same thing.
When you're in the middle of writing a song, you can come up with this whole web of stuff only you know how to get through. That's very entertaining for me to do that.
You can pick songs that sound like hits, but if it's not something that somebody wants to tell their friends, 'Hey man, have you heard this song?' then I don't think it's worth it. The only way to get your music out there, is for someone to tell their friends about it.
I want to make music and songs about things that real musicians and artist aren't able to make songs about - you wouldn't hear Justin Bieber making a song about homework, or, like, you wouldn't see someone make a song with their parents on the track.
If a song is longer than three and a half minutes, it'll need something to keep you entertained.
The last name is pronounced Jill-en-hall. It's spelled with two l's, two a's. We have a song in my family; G-Y-Double L - EN - HAAL spells Gyllenhaal. It's a Swedish name. It's a family heirloom set to music.
I've always been a fan of Five For Fighting's song 'Superman.' It's like an anthem, and I love it.
You'd walk by MTV an hour ago, and you come back, and it seemed like the same song was playing. I want to stay as far away from that as I can in my band.
Sometimes you meet people that try to explain to you your work, and how to write a song and how to sing it, and they explain that you are doing it the wrong way. And yeah, it's always super frustrating.
I am stupidly passionate about music; it has become a bit of drug. I buy tons of CDs and spend days listening to each and every one, putting notes on every song to know which tracks are good so that when I do my little MP3 collection, I know which songs to include.
Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.
I write great songs and the mistakes make them even better. No one else could write a Morrissey song.
A good song always has to do with the person representing it - how they're feeling in that moment - but I think my songs don't need to be exclusive in terms of gender or race or that kind of thing.
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