Song Quotes
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It usually takes me 20 to 90 minutes to write a song because once I start, I don't stop. If I start writing a song, and you try to have a conversation with me, you're a bad person.
You can tell if there's magic in something. When you start it, you want to finish it and you want it to be perfect. If you're not inspired, and you're working hard to pull inspiration from somewhere and make a song something it's not, then it's very contrived, and I don't like to write music that's contrived.
Every song I write is autobiographical and is about people, and that's one of the things that gets complicated. You have to decide where's your place as a songwriter.
Tori Amos had a major influence on how I craft words in a song. Until I heard 'Little Earthquakes' all my lyrics used really obvious analogies like rain for tears.
If my life had to be a song I would name it, 'Live every day like its your best day ever', because it pretty much is.
It's not just a revue where one song is done, then another. There are concepts and ideas at work.
If you take a song like 'We Will, We Will Rock You,' 'You got blood on your face... ' - he's rhyming on that! And if you take the lyrics out of that song, you get a hip-hop beat. It's a rock song, though. So it's not out of my element for me to get with Black Lips.
I remember so vividly the first song I ever wrote. It was called 'Different People.'
Magne Furuholmen is a very dear friend of mine. A-ha are a classic pop band and they've got some brilliant songs. I'd say 'The Living Daylights' was one of my favourite Bond tunes: regardless of it being a Bond song, it stands alone as a great piece of music.
I don't concentrate on technical things like where a microphone is placed and things like that. As a producer, I try to keep the initial feeling from when I first heard a song and make sure we do what were initially aiming for.
Don't just listen to my songs; listen to any song which you feel would make a change in your life.
If someone has given a hit in the industry, and everyone talks about the song and artist, that's a hit.
I think you should do Bollywood once you are all into your own market. Doing a Bollywood song for a particular actor or producer, you should be known in the world outside of Bollywood music.
When the audience resonates with my music and sings every single word from the song, the high of performing live is unmatched.
It won't be fair on my part to name one song that brought me fame, but 'Suit Suit' from 'Hindi Medium' is close to my heart, and it quite turned tables for me.
I am passionate about singing, and I strive to improve with every song and keep getting better.
As an independent artist, there can be nothing better than the fact that your song will be played and heard in different corners of the world.
One can find a Punjabi song in all genres. I, as a singer, too, aim to sing all kind of songs.
If there is going to be visuals for a song, I want them to be equally as good or better than the song.
I'm not super superstitious, but if I listen to a song and then I do well, then that becomes my song for however long it works for.
All my achievements have been great achievements. I have been collaborating with big names and making hits - like my song 'Yosemite' with Travis Scott.
If I call you playing my music, you'll be like, 'Oh, that's Gunna.' Even on a song you ain't heard, you're gonna know my voice for singing. But if I call you on the phone - 'What's up? Are we still doing the interview today?' - you're not gonna know who this is.
It's like different moods, so whenever you in one mood, I got a song for that. And then you in a down or other type of mood where you really just wanna chill, I got that type of music, too.
Use music to motivate you. If I had to pick one song to work out to on repeat, it would be Prince's 'Let's Go Crazy.'
Somehow, it seems that the sadder a song is, the happier I feel. The release of emotions that many would label as 'negative' is actually a liberating process for me.
When I'm making a song that's very Grimes, it just feels very insular and it feels weird to have someone else do something on it.
I think it would be super, hella cool to hop into a cab & hear my song on the radio - like, 'Yeah!' - and also be like, 'Who is this Griz guy? He's horrible.' That'd be really cool.
When I'm struck by things, I want to hear more and find out more. I remember when Lana Del Rey was on 'SNL,' this supposedly disastrous performance. She's doing this pretentious torch song, and I thought, 'I don't know what she's doing, but it's really moving me.'
It's fun to use all of my range; there are so many different colors and textures that come out, revealing different parts of my voice. I know what my voice is capable of, and I try to fit it to each song, evoke a mood.
On stage, it's very naked. There's a reason you shake your knees. You're very vulnerable, cos it's just you, your body is the instrument. But I always had confidence in my voice, if I had the right song, the right words to sing.
I would like to be remembered as a - somebody who could rock your soul or make your cry with a song. And somebody who's kind, who loved to laugh, and loved his God.
My goal is to put out an album with every song being an original composition of mine. I want the credits to read, 'All songs written by Gregory L. Allman' - that is something I really want to make happen.
The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.
I'm listening to Spotify all the time and pulling in different things. I might find an artist or a song that I like, and I'll pull that into playlists, and then you'll find related artists. But I like an album as a nostalgic thing; I remember buying albums and getting into the whole thing.
I love Los Angeles, and I've secretly always wanted to do a song about Los Angeles, but it's a hard thing to pull off.
Once you really get into a song, other than just listening to it, it forces you to go 'oh, they did this. I never would have thought of doing that,' when you deconstruct it. It's something you really can't do sometimes when you're just listening to a song. You have to really get into it.
I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.
Disco was brand new then and there were a few jocks that had monstrous sound systems but they wouldn't dare play this kind of music. They would never play a record where only two minutes of the song was all it was worth. They wouldn't buy those types of records.
Collaboration is much like a birth. The song that springs forth resembles each one of us to a degree, but it's the kind of thing that would never be born from just one of us sitting down with a guitar.
I don't like knowing what the next song is because that's what I'd think about during the number we're playing.
After six or seven performances of any song, you begin to perform it rather than feel it.
We can't forget what happened on May 4th, 1970, when four students gave up their lives because they had the American constitutional right of peaceful protest. They gave up their lives. And to sing that song in that spot on that anniversary was very emotional for us.
Just with the basic one guitar, one piano and one vocal and an audience, I think that the intimacy comes through more. People feel much more connected to the song because there's nothing in the way, and I actually enjoy doing that.
I do not wanna write a song like 'Coathanger' so Andrew Breitbart can rage against me on his web site. It's not my idea of fun.
I like kind of varied songs, not just the same song all the time. And I thought things like 'Too Sentimental' is a different thing for us, but it works and we love the way they all came out. There's definitely varied songs on there.
I think 'All Out of Love' is my favorite song because it's been the most successful. It's been in about 30 movies, it's been a number one record, and it keeps getting played on the radio, it's always somewhere.
I think about everything first. I think about the scenario: the story and the characters, what I'm trying to say and I'll think about that for a couple of days until it's all locked in and then when I get to an instrument it'll just fall out. But the song's kind of all ready there in my head.
Every single song I write has to feel like it has a beginning, middle, and end, like a movie or a short story.
Any time you write a song, you kind of know what you want from it. You know what you're getting from it.
I do get a bit of a sense, just from e-mails some people send me, just a little sense of how people in different countries seem to respond differently to certain lines in a song.
This 'Making Mirrors' album is far more personal, even if there's a character element to the sounds I'm working with. Every song on this album I stand behind; I feel like I have a close relationship with them. There are older songs where I can feel myself writing a story, so this is the first album where I'm proud of every lyric.'
Yeah, we're definitely not opposed to working with famous vocalists, but we really want to make sure that it's all about the sound of the voice and how appropriate it is for the song, and not kind of 'getting together with people just for the sake of it' kind of thing.
To work with different singers gives us creative freedom because we can experiment with different sounds on every song.
'If You Could Read My Mind' is a different experience every time I sing it. It's just that kind of a song.
I call ‘Mukkathe Penne' my first emotional hit because it's the kind of song that goes straight into the hearts of the audience.
Gone are the days when the merit of a song was measured by the success of the movie.
As it is with anything, if you have tuned your song well, it will be appreciated whenever it is released, especially now that FM stations and television channels are there ensure that it reaches the audience.
When an actor sings a song, he will be able to bring forth the emotion in it much better than a playback singer.
It is mostly a spur of the moment decision to try out an actor's voice for a particular song.
I love to make people laugh, and I believe that laughter and song are the best way to help young children learn.
Even if a song has shallow lyrics, there's something that you feel, regardless of what their lyrics are.
Mos is a true artist who has a story to tell and gives back through his music. He remixed my song 'Different' in 2005, and the song we're working on now will be one of my future projects.
I did a track with Khao, out of Atlanta, who's worked with T.I. Did a track with Maylay, who did a lot with John Legend's album. I got in the studio with Kanye West; we did a song. The dedication for the career takes a lot of work, but if you love it, it's worth it.
Yeah, but on the U.S Tour we threw a new song into the set almost every night. Ofcourse, you can't do too many new songs every night as they've never heard it.
So writing a song is much harder than doing a classical piece for me, because in a classical piece, I can just let the mood dictate what's going to happen.
But when you get to a song, not only do you have to do a vocal melody, you have to write words and not be redundant and make some semblance of a story.
My idea of covers is that you should never cover a song and do it exactly like the artist because everyone's always going to compare it to the way the original artists did it, and they're just going to go, 'Oh I like the original better.'
If you're working with a producer like Rick Rubin or whatever, you sing each line probably 30 different ways. Each time, they're like, 'Can you try it this way? Can you try it that way?' That's each line in the song, for each song.
I love Monk's song, 'Just a Gigolo.' It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.
Believe me when I say this: you can't please everyone in concert, even though I still want to. Someone always wants you to sing a song that isn't necessarily on your set list.
Most people who ask me what's my favorite song, expect that it's 'Midnight Train' or 'Neither One of Us.' But actually, it's always kinda been 'The Need to Be' because of what it says. I love the way that song was written, I love the melody, I love everything about it.
Some people have said that I can 'hear' a hit song, meaning that I can tell the first time a song is played for me if it has potential. I have been able to hear some of the hits that way, but I can also 'feel' one.
I'm really not a songwriter, so if I hear a song, I feel it and like it, I'll do it. But I'll make it the way I want to hear it.
If I get a song - a good song - I just sing it the way I hear it in my head. If anybody else wanted to add whistles and bells and chains rattling, that's fine. Just not too much. I actually just do things as straight ahead as possible.
In pop or rock you can make a fast song or a slow one, but in disco there is really just the one rhythm.
I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.
My favorite would be 'Love to Love You' because from zero, I went to Number One. I don't think it's the best song - the best one is probably between 'Flashdance' and 'Take My Breath Away.'
That big hit 'Get Lucky' is a disco song - not only the melody and the whole concept, but we had one of the great disco guys and one of the best guitarists ever, Nile Rodgers, to play on it. So that's great disco, but a modern disco, because it has great vocoders and synthesizers.
'Dancing on My Own' is actually a really sad song! It has totally made me cry.
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It takes a Bobby White to make a tired 90-year-old composer write a song about love.
A Schubert song, the A-major chord at the opening of Wagner's 'Lohengrin' - such incredible beauty is a mystery, the divinity of music.
I got a song called 'All That I Got Is You.' I wrote that from the heart.
I have never sung a whole song on my own before and I am not the best dancer in the world, but I would rather try and fall than not not try at all.
I've never done anything so political before. I've spent years shouting my mouth off about serious issues over dinner tables but never really had the confidence to express my views in a song.
There's nothing prettier in the world than a melody. I can get lost in a song with a melody. A lot of times I have, and the song wasn't that good, but I would get lost in that melody, and I'd want to do the song.
There was no such thing as production at Starday. We'd go in with the band, we'd go over the song, I'd look over and tell the steel player to take a break or kick it off, and I'd get the fiddle to play a turnaround in the middle.
I just write a song, and it just comes out however it wants to. And some of them are catchy songs like 'Here Comes The Sun,' and some of them aren't, you know.
Testify' went from a clean Motown song to straight psychedelic. Loud and feedback and people was loving it, because Motown was ending now.
The jazz rhythm won't be understood by the bulk of my audience. That's the problem. We can get away with maybe one tune a night. It depends on where we place it. A song like 'Beyond the Sea,' the fans love that. It's fresh.
'I Want To Hold Your Hand' is a great classic by Paul McCartney and John Lennon, I sure love that song. I did like the classic version, a rock-oriented song, then someone heard me do it with the Grant Green approach - Grant Green and Larry Young did it, with a bossa nova beat on the funky side.
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