Song Quotes
Most Famous Song Quotes of All Time!
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I do not mind having written the song at all. I just wish that I had written it in a different key, as the high d is hard to play. I am glad that I wrote something that brought joy to millions of people.
When I hear 'The Twist,' sometimes I hear it, and I go, 'Wow - I really did that song. It could have been anybody, but it was me. Isn't that great.'
A song is a song. But there are some songs, ah, some songs are the greatest. The Beatles song 'Yesterday.' Listen to the lyrics.
I'm recording freely, and if I make a song, I release it immediately, so I'm more likely to believe in one song at a time as opposed to albums.
I tried to make a 'When Doves Cry' in a rap version. I used a lot of instruments and I broke it down like I thought Prince would do, and that's the song I sent to Big Boi.
The song 'My Way' is a very remarkable song. It is also difficult to sing because you've got to convince people that what you're singing about is the truth. It's a man who is very proud of having achieved everything that he's achieved his way.
I was in 'Martha Marcy May Marlene,' and I got to do a song for the soundtrack.
If you can't play it on an acoustic guitar or a grand piano then it's not a song.
The writers that I aspire to, like Joni Mitchell and Randy Newman, they'll tell you that the work gets harder, not easier. And they set that bar for us where we're always striving to do something better than the last time, whether it's the next song or just the next line.
Lyrically and thematically, the title 'Doctor Faith', that song is about therapy, psychotherapy, and that song is about emotions and personal insight. I think all the songs on the record sort of go along with that.
Writing a song is like playing a series of downs in football: Lots of rules, timing is crucial, lots of boundaries, lots of protective gear, lots of stopping and starting.
There's a whole bunch of unfinished stuff. Then I've got books of lyrics. I find it frustrating to finish a song and not be able to record it... so I don't write a million songs.
For Stevie, the words are of prime importance; the song moves around the words, rather than the words moving around the song.
I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.
My new song 'Shrug' I created with two guys. The idea was a message about ignoring haters. People one-up you, stay true to yourself.
If you really watch 'The Voice' and follow Adam, he's very ADD. He's kind of one place here, and then he's over here the next minute; he's kind of all over the place. When it comes down to being very serious, and especially when we were talking about the finale song, he's actually very serious, and he's a very good listener.
I signed to Def Jam and within two months, I heard that Ja Rule was looking for someone to do a song with.
I am not greedy, so I would gladly give a song to someone else to sing if it makes more sense.
If you want to page me, It's OK! I've actually had guys tell me they were fans from the 'Kim Possible' days. And I've met people who still have the 'Kim Possible' theme song as their ringtone.
I've always loved 'Umbrella.' Funny enough, my ex-husband wrote that, and I'm not saying it was meant for me or anything - people will start twisting this - it is Rihanna's song! But I've always loved it.
I had a really great performance with Steven Tyler in the movie 'Be Cool.' I performed 'Cryin',' so we recorded the song beforehand. But I didn't get to meet him until I hit the stage with him, and we had a live performance with 30,000 people in the audience, and that was for the movie.
Yes, my first memory of singing, in general, was of a Christmas song. And then listening to Christmas music was really the first music I was ever connected to.
It felt very natural to me to write a Christmas song, but at the same time I had to really put all sorts of pressure aside and just let the creativity flow and see what came out.
It's funny because as a composer, you want to hear your songs live on. I think a lot of times people will create a song and it becomes stagnant or something that they're no longer interested in playing, and they leave it alone.
When I'm writing songs, I write visually. When I'm writing the words down and I listen to the melody and the lyrics, I start seeing the video form. And if I can get through a song and from the beginning to the end have the whole video in my mind, I think that's a great song.
I was in a movie with Angelina Jolie called 'Life Or Something Like It' where I played her fiance, and I have a song in there.
Everybody has their favorite sad songs. That's part of what I love so much about country music. Country music is never afraid to go with a sad song.
My favorite part is, once a song is out there to the public, having someone come up and tell their own story about why one of your songs resonated with them. It's an incredible feeling.
In my opinion, that's one of the hardest things to do in songwriting: crafting a song that speaks to you but, at its core, is a simple concept.
I write a lot of my music, but not all of it. I have always subscribed to the 'best song wins' theory when making an album.
I think the biggest way of connecting with people is through your music and kind of saying what you want to say as an artist. And hopefully, you're making something that someone's going to be like, 'This is my favorite song.' That's always your goal, I think, anybody in any genre.
There's probably a couple someones that are gonna hear the songs and go, 'I think that might have been about me,' or, 'I know it's about me.' I do play that pretty close to the vest. I don't think I'm ever gonna write a song and drop somebody's name in it.
When I hear myself singing, I hear Iggy Pop and Jimi Hendrix. There's a conversational thing going on. I suppose it depends on which The Pretenders song you're listening to.
I don't like karaoke. But maybe that's why I'm so perfect for 'Lip Sync Battle,' because I get to still hear the song I love and watch the performances that I love without having to hear someone sing.
I think it was 'Tales of Topographic Oceans' on 8-track that was the funniest thing because it would fade out in the middle of a song and fade back in again, and when the tracks change, it was quite amusing.
Strangely enough, 'I've Seen All Good People' is, I think, the second most played Yes song on American radio after 'Owner Of A Lonely Heart.' And then I think 'Roundabout' is third.
'Onward' was a song I wrote in Montreux, in Switzerland, when we were there camping out for the whole winter. In the summer, Montreux is a really, really big summertime-touristy, full-of-life kind of place. In the winter, it closes down.
'Close to the Edge' is the album where we first attempted to do the extra-long-form piece of music, having one song taking up the whole side of a piece of vinyl.
The goal is always just to write the best song that you can write. I mean, the process for writing a song is the process for writing a song. It's not something I look at it as something I need to do something different.
We have a history in country music of writing about the darker side of things - maybe not as much in modern times, but there's a lot of cheating and self-deprecation. We sort it out in song, in country music, as a genre.
Growing up, my favorite group was New Edition. I loved the opportunity to do the remix to Bobby Brown's song 'Get Away'. I told myself that I would have my own group like New Edition one day.
My daughter is 15. None of her friends know who the hell Chris Rea is, but they know that song - as soon as it comes on, they start singing it. I've played with everyone from Status Quo to Talk Talk, but nothing impresses them as much as the fact that I play on 'Driving Home for Christmas.'
I played a gig at the Montreax Jazz Festival once - and on a song called 'It's All Gone,' I had to do free-form slide solo. It's the best thing I've ever done - because I wasn't thinking about it.
'Fool If You Think It's Over' is still the only song I've ever not played guitar on, but it just so happened to be my first single, and it just so happened to be a massive hit. It was in the U.S. Top 10 for seven weeks.
It's easy to get people to sing along to cover songs, but when it's your song, it's the coolest.
A moment for me that changed everything was hearing my song on the radio for the first time.
'Fix' - definitely, when I first heard the demo of that song, it was kind of intimidating because of the high falsetto parts. It was one of those things. I got into the vocal booth and wasn't sure I could do it or how well I could do it. There was something about the song that I really took to.
I don't know what makes a guy want to write songs and sing, but if you've got a message, you want to get it across. When I come up with an idea about the way I feel, I can really state it strongly in a song.
I've had this song in a drawer for a long time, maybe seven or eight years. Every time I'd do an album, I'd take it out and listen to it, and always liked what it had to say. Plus when Garth came in and sang on it, that made it really special.
They were so good that you just had to sing the song to them once and they got it. It's amazing. Sometimes it didn't come out the way you wanted, but it was good.
When I come up with an idea about the way I feel, I can really state it strongly in a song.
You can get too bogged down in technology and you can sort of forget what it is you were trying to do. And with the Pet Shop Boys it's primarily about the songs, it's about song writing.
The goal is to try and make the perfect song. Which of course will never happen.
I'm competitive with anyone who writes a good song - I don't care if it's a band or solo artist or whoever.
If I hear a song that I like, my first instinct is to find out about who made it.
I never set out to write a certain kind of song, I just play my guitar and see if I catch something.
I sang 'Your Song' by Elton John, and Silva Screen Records were watching. They got in touch with my agent then had the idea of the Christmas album.
My first favorite band that made music important to me was the Beatles. I was a little kid. I didn't know who was singing what song or who wrote what song.
I'm 18 in this album. I'm not losing fans, and I'm not disrepecting women, but you reach the maturity of taking it to the next level with a girl. It was only necessary for me to have at least one song like that.
Doing a scene truthfully is very similar to doing a song truthfully. They're really parallel.
Elvis Costello's song writing is so peerless and individualistic. It's storytelling and it's deeply intelligent and clever.
I can sing other people's songs all day, but I'm ready for it to be my song.
I got recognised for my work in 'Guru' as 'Tere Bina' became extremely popular, but very few people know that I have sung major lyrical portions of the song 'Maiyya' as well.
A song like 'Kilimanjaro,' which is such a fun, entertaining track... Singing the song was an amazing experience.
To me 'Varayo' is a special song, not just because it has given me seven awards so far, but the experience of singing with Unnikrishnan ji.
I will safely say that I prefer singing a song in a stretch if I am allowed to. A lot of times, I do choose to and do sing the asthayi and antara in one take, respectively. And I give a few takes until I feel it is perfect.
At the end of the day, I am singing the composer's creation, and I follow the instructions given to me. What I feel may be a right take may not work for the composer or his vision on how he thinks the song should sound.
When I was offered to sing 'Tere Bina' in 'Guru' by A. R. Rahman sir, it was a surreal experience. The song clicked, and many composers took notice of me and my work then.
As for song recordings - well, that's something that just happens. I've been working with music directors like Harris Jeyaraj sir, A. R. Rahman sir, and the experience is great.
We're feminists. We're doing something that only guys are expected to do and doin' it right! At our concerts we'll do one hard-core rap song and then do one where we'll be real sexy.
The reason that Shaft has a dominant theme song is because James Bond has a dominant theme song.
'Too Young to Fall in Love' is an earlier cut from Motley Crue, but it's one of their best. I'm so drastically different as an artist from their sound, but the challenge of making it my own is what makes doing a cover song fun.
The best thing about being a DJ is making people happy. There is nothing like seeing people get up from a table to dance or the expression on their face when they hear a song they love. I also love to educate people on music they have never heard.
If I have a hit, then I hope the people who like the hit song go out and buy my album so they can hear it all.
I don't need to hear Bill to go through a song. I need to hear Keith to go through a song. I know Bill will be playing what I'm playing anyway. I need to hear Keith because it's all there: the time, the chord changes, and all the licks you have to follow.
On YouTube, when you have a big viral success with a song that isn't your own, the natural inclination for most YouTubers is to keep doing that. What you really should do is show people that you actually have substance and can write your own music.
The first person that I ever heard sing a song I wrote was Jason Derulo. I was in the studio when he was doing it, and I mean, I've heard that guy's voice my whole life. When he was singing words I wrote, I started kind of choking up, but I tried to be all manly and puff my chest up and be all, 'Yeah, it's not a big deal.'
I was carrying my friend in his casket to put him in the hearse, and I was thinking, 'I need to write a song for this guy, because he always told me I would have a No. 1 song.'
I think the process of 'I Love It' becoming such a big song opened my eyes to sides of the industry that I'd never been aware of, which I wasn't so into.
Whenever I'm writing a song, if I have an idea for the music video, that's how I know it's a good song.
Whether I'm writing for myself or someone else, I'll always write a song that I would feel comfortable singing.
I know when I've written a good song when I can imagine the video. If I can't imagine the video straight away, I'm not gonna put it on my album.
I count myself as not only just an artist, not only as a singer, but a business woman. I write my own songs; I write my own video treatments, manage other artists. I write for other artists; it's not just about getting on stage and singing a song.
I've passed up on many a thing that could have made me a big artist or something. Like, I was offered a feature on a Christina Aguilera song and I turned it down. It just wasn't right. She's cool, but it just wasn't right.
We would play, then they would play a set, then we would jam on the last song.
The gift of song is just like... I think music is one of those true things in this world that is universal.
You know when I really realized like 'wow' what a gift this is was when I sang at camp and a girl wrote me a letter and said the song that I sung kept her from committing suicide.
With Martha Stewart, the power of the brand, the power of television, taught me that if you can marry all those ingredients - like you marry a great song with a great artist - and get the right television exposure, then you've got something that really is going to be sustainable. You can expand and blow up.
I think for new artists the hardest thing is putting the face with a name. People maybe heard our song on the radio or something but until they get several impressions of who you are - from whatever it is, whether TV or a live show, I feel like they don't quite connect the dots.
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