Song Quotes
Most Famous Song Quotes of All Time!
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If I feel like I've completely drained every ounce of energy out of me for this song, and I can't go any further with it, then I stop, even if the song is unfinished. Most of the time, when it's finished, it's because I've used every ounce of me to write it.
A lot of people say 'Boo'd Up' reminds them of '90s R&B. It has that feeling, which is why I think people take to the song so much.
To find out my song made the top 10 was honestly a dream come true. I think it's something that I've dreamed about, and anyone dreams about, their whole life.
I love that song 'I Could Have Danced All Night' from 'My Fair Lady' so much. I love that song because watching it as a kid, it was such an unbridled expression of joy.
The lyrics tend to fascinate people, but for me, when I listen to a record I don't always latch on to the lyrics. I listen to the whole thing and it may be five or six days before I even realize what the song's about.
I sometimes suffer from insomnia, and one of the first times it ever happened, I was like, 'I don't know what to do with myself,' so I started writing a song, and by morning, it was finished. It was about how I couldn't sleep... I was 14.
I make my songs slightly abstract so that people can interpret them their own way. I think that's a lot more special, so you can hear a song and think, 'I feel exactly that way,' even if it wasn't written for that feeling.
You may take this as a general and central principle in criticism: that all science, literature or song, which recognizes conscious life as the ruling principle of the universe, is Christian.
They're making a song and dance because that serves their immediate interests. But what will happen tomorrow? They will have to pay salaries and pensions.
I've always wanted to sing, just as I've always known that one day I would have my own niche in the annals of song. It was a feeling I had.
I guess that I'm primarily thought of as a rocker, largely because of 'Frankenstein' being such a heavy song - you know, it was really hard rock, almost a precursor of heavy metal and just the image of the synthesizer. I happened to be the first guy to get the idea of putting a strap on the keyboard.
David Lee Roth had the idea that if you covered a successful song, you were half way home. C'mon - Van Halen doing 'Dancing in the Streets'? It was stupid. I started feeling like I would rather bomb playing my own songs than be successful playing someone else's music.
Every song is like a kid. How can you have that many kids and have a favorite? Which one do I like to hang most with?
Every song is like a kid. How can you have that many kids and have a favorite? Which one do I like to hang most with? Probably the one that I haven't hung most with recently.
I am outraged that the Gorillaz have infringed the copyright of my song 'Time Warp,' claiming their song 'Stylo' to be an original composition.
The Haisla named this point Obela. Not so long ago, the bay was lined with longhouses and canoes, totem poles and fishing gear. The reserve was once a winter village, a place to celebrate the sacred season, when memories passed in dance and song and stories from one generation to the next with great feasts called potlatches.
I remember people telling me that at 5 1/2 minutes long, 'Lightning Crashes' would never be a hit song.
I really don't do concept stuff very well. If I'm sitting thinking about what kind of song I want to write, within a few minutes, I'm kind of bored. It's just a personal thing for me.
Whatever I think the song sounds like is what I'll name it. It's a feeling thing; it's not logical at all.
Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought.
My momma was working very hard, doing three jobs... she just worked her butt off, man. On the weekends she started to play this song called 'Living for the Weekend.'
But the reality is when you write a song, you should be able to strip away all the instruments and just have a song right there with an acoustic guitar and a voice, and the song should be good.
Anytime an artist puts your name in a song, it's unbelievable. It never gets old.
I'd love to cover an 'Incubus' song. I don't think anybody in a cowboy hat on a country stage has ever done that, and I'd love to be the first.
When I was younger, I'd listen to a song and take it literally. I'd think, Boy, what a drag. How horrible, he must be really bummin'.
'Mr. Brownstone' is always a fun song to play because it's got that beat, and you see people bouncing.
So, once I've written a song, you know, I'm pretty happy with what the song is on its own terms.
We even have a music career. Our song ‘Hold On,' charted on Billboard. I mean, we don't have aspirations to tour with Justin Bieber but we have a lot of different interests and talents.
My goal is to get my music out to as many people as possible. That a song of mine is being played on the radio so far away from home really, really pushes me. It's everything I've dreamed of.
Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.
It's a very interesting thing because I can start mixing a song and leave the room and come back and maybe just slide one lever to a certain point, and it just - it's a certain feeling that it gives you when you know it's right.
I can remember when I was just, like, about four years old in Compton, and my mother would have me stack 45s, stack about ten of them, and when one would finish, the next record would drop. It was like I was DJ'ing for the house, picking out certain songs and so this song would go after that song.
The original version of 'Nuthin' but a 'G' Thang' was made to a Boz Scaggs song; I can't remember the name of the song.
No matter where you are or what you're doing, it's always great if you don't have to get up and physically change the song that plays next.
I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.
Once a song is done, for me, personally, it's usually two or three days to get the mixdown.
I push myself in a lot of aspects when I write a song. I write a piece and where most people would stop and say, 'Oh, that's the hook right there,' I'll move that to the first four bars of the verse and do a new hook.
I just have a thing in my brain that when I'm about to do something that's genuine or authentic, I think of it in song form. I'll be like, 'Yo, this is a human emotion that no one talks about.'
When you sit down and there's nothing, and then you write a song and there's something, that's the most extraordinary feeling.
The perfect pop song is a 20th-century creation; it's not a sonnet, it's not an opera, it's something short - three and a half minutes by nature - and has this ability to travel and to defy class and economic structures.
'Planet Caravan' by Black Sabbath is such a delicate song from such a surprising place.
My favorite song to play is 'Smokin' by Boston. I actually had a chance to play that with the band Boston live.
The songwriter mustn't fall in love with his own song. If it doesn't belong, he can't push it into a show. Let him save it; maybe it'll fit in another show.
I don't care how good a song is - if it holds back the storyline, stalls the plot, your audience will reject it.
I do not think men have more talent. There are a great many women in the arts; novelists, painters, sculptors, poets-but the proportion is far lower in the field of song writing.
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.
A song just doesn't come on. I've always had to tease it out, squeeze it out.
When I was a teeny little girl, I was in dancing school, and I sang. We had to put a dance to a song, so I went to the 10-cent store one day and looked at all the sheet music. It was all laid out, and I picked 'Life Is Just a Bowl of Cherries.'
I always feel a rise in my scalp or in the backs of my wrists when something is special, whether it be a song or a man.
I love to cook, my husband and I collect wine, and in my head, I am always on Sullivan's Island, walking the beach listening to the song of the ocean.
A friend of mine called and said they're interested in having you do a song for the new Pokemon. All my kids are grown up, so I'd heard of it, but I didn't really know what it was.
I am fine with 'Puppy Love.' I hated it for a while. But I still sing it. I have a country version, a sexy version and a cheesy nightclub version. I am trying to infuse it with maturity. I will never escape that song. I will always be Mr. 'Puppy Love.'
I am so highly skilled that when I pick up a phrase and then pick up my guitar, a form comes out almost immediately - a song - and once I start, I have to finish it.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
I'm in the Rock and Roll Hall of Fame, the Songwriters Hall of Fame. Jimmy Page gave me the MOJO Maverick award. I got an Ivor Novella Award for my very first song.
With songwriters like me who are prolific, you just write the song and then put it on tape.
Doing a musical is not just acting. It's total theater. When you have to justify the enormous projection of energy it takes to just go into song and dance, you realized why it's such a humbling experience every time you go into a show.
If you've got a good song, it's easy to play. But you can't make a bad song sound good no matter who you have to play on it.
In a sense, 'American Pie' was a very despairing song but it can also be seen as very hopeful.
American Pie speaks to the loss that we feel. That's why that song has found the niche that it has.
But I knew - in the old days, if a song was a good song, I don't care if it was 'Yellow Submarine' or, you know, or 'The Times They Are a-Changin' or 'Don't Be Cruel', you knew it, you know? You heard that song, and you were talking about it, and you knew it.
Basically, in 'American Pie,' things are heading in the wrong direction. It is becoming less ideal, less idyllic. I don't know whether you consider that wrong or right, but it is a morality song in a sense.
That song didn't just happen. It grew out of my experiences. 'American Pie' was part of my process of self-awakening: a mystical trip into my past.
All roads lead to 'American Pie.' 'As American as apple pie' was the saying. It was some kind of a big American song that I wanted to write, which would be a conclusion for my show and bring all the songs home, which it still does. I can go anywhere I want with American music and come home to that. And it all makes sense.
When people ask what 'American Pie' is about, they're missing the point. The song isn't about the lines themselves - it's about what is between the lines. The song is about what isn't there.
If you listen to one of my albums, you can tell I do a lot of different things. In the case of 'Vincent', I thought of his picture 'Starry Night.' It was a beautiful road-map for a song. I used a lot of imagery from that painting.
I wrote '('Til) I Kissed You' about a girl I met in Australia. Her name was Lilian, and she was very, very inspirational. I was married, but... I wrote the song about her on the way back home.
One of the songs we recorded for 'The Long Run' was called 'You're Really High, Aren't You?' Which never really made it onto a record, but later on, it became 'Heavy Metal.' I took that track that wasn't used, and when I was invited to write a song for that movie, I took that track and recorded that song for that movie.
I've always been drawn back to the South, whether it's Southern California or in Florida, where I grew up, and I wanted to write a song about that.
The new material includes a Latin-flavoured song, some electric rock songs, and a ballad. Something strikes me, and I follow that. I'm as excited now as I was when I was 15.
It's two different brains: the mom brain that's, like, selfless and ego-free, and the on-stage 'Look at me. Like, listen to my song. Hope you like it.' There, it is all ego.
Once at the White House I was asked to conduct the Drum and Bugle Corp. The man just handed me the baton and I finished the song. It was great. I got to keep the baton.
They would wake me up when I was sleeping, and say sing a song for our friends. I had a sweet voice, I had a nice little tenor voice. God knows what I sang, but my whole family would admire me.
I would love to get Rihanna on a Khaled song. That's my friend, but every time I'm around her, I get shy.
Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.
If I make a song, and it's my song, like 'Lean On,' we're going to make money off the synchs, the Spotify, and we get to headline festivals on it. That's the model I want to explore.
Between the record companies being the way they are and the fact that people can just download one song instead of buying a whole album, it's hard to make a good living nowadays.
Van Halen was a huge influence on me, and 'Eruption' was the song that really leaped off that first Van Halen album.
I always sang Leona Lewis covers, and if you know her songs, she's not just singing your average easy song; she's going off the majority of the time.
Sometimes when you sing someone else's song over and over again or songs that have been given to you, you're afraid to go out there and write one yourself.
My daughter, Charlotte Strawbridge, has recorded an album, and my favourite song from that is 'Empires Made Of Sand.'
I usually don't write songs by people calling me and saying, 'Write a song about this.' Usually I'm just going with what I want to write, so you never know.
What makes a great song - you don't put it into words. You feel it. The perfect lyric. The perfect melody. It makes you feel something.
I loved singing something like 'I've Got My Eye On You' when it's really about the FBI. It turns a love song into something else!
When I first heard Nina Simone, her naked truth shocked me. Whenever she sang, it felt like lightning bolts in my soul. Every song was like a movie, a unique and very different vignette.
When I sing a song, I want someone to recognize 'Now that's Dianne singing that song.'
The only song I can sing is 'Lady in Red' so that must tell you how great it must have been.
At one point, some years ago, a nice gentleman had it in mind to do 'Outlander' the musical. His idea was to start with a CD of what you call a song cycle, with a dozen high points of the projected show. It turned out very well, though we had to stop doing it when the TV show came along.
But the greatest thing about music is putting it out there for people to figure out. You want the listener to find the song on their own. If you give too much away, it takes away from the imagination.
The album is a definite departure. I haven't written original material before, except for one song on my first album, but Elvis and I did six songs together on this one.
You're creating an intimacy that everybody feels, that it's their experience, not yours. I'll never introduce a song and say, now this song is about 'my' broken heart.
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