Song Quotes
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It's bizarre: sometimes I go through periods where I really want to put a song up online, and sometimes I'm sort of busy with other things... It's very much a hobby, that kind of thing. I sort of post it more for maybe my mom's benefit, and suddenly she says, 'It's got 50,000 views.' And I think maybe I should've put it as private.
Some of the press who speak loudly about the freedom of the press are themselves the enemies of freedom. Countless people dare not say a thing because they know it will be picked up and made a song of by the press. That limits freedom.
The actual writing of a song usually comes in the form of a realisation. I can't contrive a song.
I could tell it was a popular move as a writer to walk down the bass lines while you were writing a song.
Music's staying power is a function of how timeless the lyrics, song and production are.
I think any song should sound good just played on a solitary instrument with the vocal. If you have those basics you have all you need. The production then just polishes that idea into the finished thing.
If Marilyn Manson would write a song that says, 'Do your damn homework,' it would make the world a better place, and it wouldn't hurt him at all. And if he doesn't like it, to hell with him. He can come fight us - by the bicycle racks.
It's really weird when we're out of the country, whether we're in Brazil or Greece or some crazy place like France or Germany. When you hear your song on the radio or in a store, and you're in a different country, it's really freaky and surreal.
Kevin Costner told me that 'True' was his and his wife's song. I'm not sure if that's a good thing because they split up soon after.
The big difference between the radio show and the TV work is that I don't have to work by committee on the radio show. I'm the DJ; I can play what I want and suffer or get praised by that. With a TV show, it's much more of a collaboration, and the song that I might think is perfect may get shot down and vice versa.
There is nothing like singing a song that 20,000 people know and are singing back to you.
Sometimes if a song hits me really good the first time, I get sick of it. And by the 10th time I've heard it, it's just candy, and I don't like it anymore.
What is that song that Willie Nelson sang? 'Oh, the days dwindle down to a precious few.' I think of that. No big deal. I've reached a stage in my life where I am content.
As a musician myself, I wouldn't be confident if I received some other composers' song, because I choose to express myself through the music that I make.
'Storm' was the first song I did as a member of YG. The record gave me a lot of pressure. I didn't think I was prepared at the time.
Stony Skunk, when they were with our company, had a song which I personally like called 'Red Light District.'
When I create a song, I immediately think about what I'm going to wear when I perform that song. I think about the music video treatment and about how I'm going to look on stage when I perform the record. The connection is so obvious that it's a single package. An outfit, to me, is almost a tool to express the music.
When you sample something, you're using the crutch of borrowing chords and melodies from a song that's already great, that's already stood the test of time, that's already special. When you're trying to do it all from scratch, you're writing something brand new that has to stand on its own.
I was drawn to love songs, but I was just drawn to great music - no matter if it's hip-hop, pop, R&B or whether it's rock n' roll or country. It could be a Garth Brooks song, and if it's a smash, then I'll love the different wordplay and different melodies. That's what I'm a fan of - great music.
So when you're sat there and you're looking at a platinum disc on your wall, for a song you wrote on your own, it's like this is getting crazy, man. It's all crazy.
Thus we have at least a national song that unites all Germans, and is the symbol of our sixty-million nation.
I wouldn't want to do a Bollywood film per se, but I would like to do an Indian-language film. For some reason I think Bollywood has become synonymous with commercial cinema, which is song and dance and everything that is larger than life, and I am interested in the reality.
Kind words are the music of the world. They have a power which seems to be beyond natural causes, as if they were some angel's song, which had lost its way and come on Earth, and sang on undyingly, smiting the hearts of men with sweetest wounds, and putting for the while an angel's nature into us.
I don't like pre-written raps; I think it makes the song better if you listen to the beat first. In a sense, you have to make a marriage with the beat. I ride the beat, hear the flow of the drums, get the melody of my flow, and then from that point, it's a process of what I want to say.
I never write a song before I get the track because I just feel that I have to make a marriage with that track with my raps. And if it's something that's already there, it ain't gone really fit, I don't think.
I'm the same guy at that podium preaching to the people on every single song. I'm not doing a dance for you on another song. It's all a direct assault.
Inspiration is enough to give expression to the tone in singing, especially when the song is without words.
In Hungary all native music, in its origin, is divided naturally into melody destined for song or melody for the dance.
I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or 'Sherry,' I should be able to do that. Or a Dylan song.
I have to believe that most people know that 'Can't Take My Eyes Off Of You' is my song. But the reaction we get from the audience at 'Jersey Boys' is that they didn't remember how many hits we had. A lot of 'Oh yeah, I forgot they did that song.' We had 20 Top 10 hits in the U.S... people forget.
They look for the top note to end every song. They don't know what they are singing about. There is no style.
For me, the biggest successes I've ever had were the ones I never counted on. I never thought my first big record would be a hit. I thought it was an average song.
Before you have a hit song, all you're doing is banging on the door and screaming, 'I've got something I want to play...' Now with the hit songs, they're like, 'Okay man, we're listening. Whaddya got for us?'
I think part of the process of putting out a record is always looking back because, by the time a song comes out, it's been a year since you wrote it.
Those emotions that are really strong, the ones that inspire a song, you can hold onto that. You can let it marinate for years and keep writing about it even better than you did then.
Whenever I'm really excited about a song, I want to learn it, and it becomes the first thing I play every time I pick up an instrument.
Throughout my career, if I have done anything, I have paid attention to every note and every word I sing - if I respect the song. If I cannot project this to a listener, I fail.
The first thing that inspires any song is a chord progression. When I have one I really like, I get into the lyrics even more.
I don't want to do children's music. I write kids songs, but the kids songs I write are for my kids - like when I'm putting them to bed. We sing some song that we made up but I don't want to make a record like that.
I can remember back as far as age 8, performing with the Boston Folk Song Society. It was a Woody Guthrie song.
Then, in that hour of deliverance, my heart spoke. Does not such a country, and such defenders of their country, deserve a song?
I wrote a techno song after I was deported. I was in America for a little bit, but then I was deported back to Germany. I was very sad.
I wrote a techno song about the four things I love in Germany to make myself happy, which are my grandfather, my two poodle pets, bread, and a strange but delicious Turkish dish called Doener Kebab.
When I see things that are inspiring, I must write a song about it. Some people make a t-shirt or slap something on a wall with paint, but I must make music and freestyle rap.
Dirk is like the German Moses, invincible and inspiring. That is why 'His Name Is Dirk' must be the Official Fan Song for Dirk Nowitzki.
'Spectrum' is in part a disco song. But we play it hard, and it's a real euphoric, wailing tune. It's kind of like a total house anthem, in a way, but it seems to be going down really well. We've got all the grunge kids going mad for disco house raves.
As a musician I'm about expressing what's inside, and I think everyone has a song in them that they need to get out, whatever their gig is.
I don't ever try to make a song better than my last song. I just try to make it different from my last one.
The first song I did was over a Chief Keef beat - 'Understand Me.' I did that in, like, 2011 or 2012, I think.
I don't want to have a song like 'My Humps' and it be sagging down, so I pay attention to that area. A lot.
I'm glad that our music motivates people to exercise. If I had to pick just one song to run to, it would be 'Violet' by Hole. It makes me want to run.
I'm one of those people that I make a song... then I write another song and then I'm like, 'But this song is so much better than this song,' and then I kind of ditch that song. It's a long process.
When I first played '1234' it was on stage in San Francisco at some kind of, like, sticky-floored club. And it felt like a punk song. I mean it's ridiculous to say that now, but it had that kind of, like, piercing straight melody. And then this fist-pumping ending, you know that pa-dap-pada.
You never know what's going to play into what's worthy of getting encapsulated into a song.
I'm very soulful. I grew up singing in church. When I sing a song, I like to feel what I'm singing.
R. Kelly is different - music is always going through his brain. I remember we'd be having a conversation, and he'd choose a word I said and write a whole song to it.
In 'Purab Aur Paschim,' there's one of the nicer patriotic scenes which is patriotic without going jingoistic. There's a scene set in a rotating restaurant, where Pran, who has left India, is completely running India down and Manoj Kumar is taking up for India. And there's that song 'Jab Zero Diya.'
The song This Kiss was definitely my breakthrough song. After that, Breathe was my breakthrough album.
I'm still proud of what I've done, even if it hasn't been the biggest song on the radio or hasn't gone to number one.
I remember where I was when I first heard 'Boyz N The Hood' - 126th Street and Normandy, South Central, Los Angeles. I remember that I was on my porch. What they described in that song was so vivid and so clear to me because it was the kind of life I was used to witnessing and partly experiencing in my neighborhood.
If the fans are liking what I've been doing, and they want to create a song for me, let's get on with it!
I do think sometimes there's danger in guest appearance mania. I've seen too many examples that sound cool on paper, like 'Oh, get that guy to sing the hook on that guy's song,' and then that's all it is. It's a cool idea that sounds good on paper.
No part of Manhattan these days really has the same vibe I get from a Ramones song or a Velvet Underground song.
When I write a song, it's all about the riff - the riff first, then the words come later.
The Beatles mean so much to so many people, you know? Everybody has at least one song of The Beatles that's one of their favorite songs of all time.
I got into a conversation with EMI, and they said they were very interested in releasing the song because it was such a huge hit online. RCA and Universal were also very interested, but EMI were the best team, so I decided to sign with them. I got my deal because 'Silly Boy' leaked, so obviously now I'm very happy about what happened!
My mother always told me, even if a song has been done a thousand times, you can still bring something of your own to it. I'd like to think I did that.
There aren't reasons why you like this song or this piece of music, or don't like it. It's just, it's either right or wrong, you know?
I went to New York and Miami and hung out by the beach, and I love the American boys, so I wrote a song about it.
I can sit in my room and write a song that I think might be a hit. I can sort of make myself do that, and then I'll play it to a friend, and they'll say, 'Oh, that's nice.' But when something happens to me, and I sit down and write a song to get rid of my emotions, they'll turn around and say, 'Wow, that's great.'
I hate that if you do one style of music or become really well known for that one song, that everything that comes after has to fit that mold.
It's so funny because if you tweet your lyrics and then you hear it in a song next week, you're like, 'Hey I had that same idea.' I'm very secretive with my music. We have to send emails password protected. Because once that song gets out, you aren't selling that thing.
Wherever and whenever God is moving in a new and fresh way, there emerges a new song!
I don't really care about a song or lyrics; I'm really just interested in the way people emphasize words. That's what makes a strong impact on me.
Actors are almost conditioned to get their director's approval. 'I just did my song and dance, boss. What did you think?' Actors are infantilized so much.
I think I deliberately sold out a couple of times. I picked the songs that I thought would do well in the marketplace, even though I didn't really love the song.
There is no formula to it. Writing every song is a little journey. The first note has to lift you.
I know every note in every song, the whole history of it, even parts that were there and are gone.
I never walk into the studio and say, I'm going to write a song called... 'X' or called 'Slow Me Down.' I write a ton of lyrics, often the title is somewhere in those 10 pages of... I call it brain vomit. It's kind of like whatever comes out of my head and I'm unabashedly just writing it down.
'Driving Home For Christmas' is just a great Christmas song because people are in their cars and driving home.
What is the point in going into a stand and singing a song that you know is racist and then going out into the street and saying to me, 'I'm not racist. Come to Tottenham.'
Yeah, I think the arts and literature have always been irrevocably connected. Because if you think about it, every film script, every play, every song starts as words on the page before it is ever performed or filmed or sung.
I feel like 'Next To Me' is a great introduction because it's a simple song that has a simple message for me. I wanted to introduce something that lyrically I'm proud of and introduces me both as an artist and as a writer.
Any song I have to work on longer than a day, I just leave it. It's not gonna work. Everything that's good is really instant.
I've always felt writing a song was a bit like going on location. That's true in an almost literal sense. Where you are seeps in somehow.
It's what I do. I don't deserve any awards for this, it's just music. It's just writing songs. You sit down, you write a song, you record it. You tour and play the songs live, dress them up a bit differently, or dress them down.
I get very frustrated by this term 'genre exercise.' I mean, what exactly is that? Genre is not really relevant when you are writing a song; hopefully you are doing it to explore something, to create something, and I don't agree that any of my albums are genre exercises.
'Tis easy enough to be pleasant, When life flows along like a song; But the man worth while is the one who will smile when everything goes dead wrong.
I have perfected the art of the mean song to make me feel like I have a backbone.
I use writing as a counselling session - recently I've written a song for Paloma Faith, so after being a singer, I'm happy to keep writing for other people.
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