Song Quotes
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Dave and I had been song writers in Nashville, trying to get around, out hustling, trying to meet people. We randomly met Hillary out in town one night. She said she was a singer. I asked her if she would like to write some songs with Dave and me, and a week later she came over. Instantaneously we had this chemistry.
If we were to use the success of 'Need You Now' as the barometer for every other song, then we'll probably be highly disappointed. That song will probably undoubtedly be the biggest song of our career. We can hopefully have success for 20 years, but we may not ever have the success of that one particular song again.
I've always thought 'Southern Accents' would make an amazing country song. It's always spoken to me. I've always loved it. Every time I hear that song, it reminds me of my dad.
When I come home and have a new song I've written, she gives me an honest critique. If my wife likes it, I know I have something.
When I went to Gabriel Roth's studio, I showed him I was good with my hands and started working as a handyman in his studio. I asked him for a chance, and he gave me a song to sing with Sharon Jones.
When I feel it, I got it, 'cause, like, on 'Changes,' I didn't never know what that song was, never knew who it was or who did it, but Tom Brenneck asked me to do that song.
It's hard being a woman in this industry, period. A lot of the time, guys make you feel like you need to hook up with them - especially as an artist - producers and other artists trying to collaborate with them, they make you kinda feel sometimes you need to hook up with them or flirt with them just to make a song.
I really get inspired by songs. Like, if I hear a thug 'Want to kill ya' song, I'm ready to go out and get crazy. Or if you hear this really sexual, sensual slow song, I want to go have sex. I'm very animalistic when it comes to stuff like that. Very basic emotions.
I think it's important to really press on with the song writing and just go with it. There's no code, there's no craft... it's just let yourself shine through your music. If it's meant to be loved and heard, it'll happen.
I just remember saying to myself, 'I want to be a super jock.' I don't want to be just some radio personality in some town somewhere doing the time and temperature and the latest song.
One of the first times I ever performed in front of a big group of people was at my kindergarten graduation. I did, like, a Michael Jackson impersonation as, like, a five year old. I had the suit and blazer, the glove and the fedora, and I just performed a whole Michael Jackson song. I'm sure it was 'Smooth Criminal.'
Every song on '10 Day' is a completely different sound - the cadence, the flow, even the production - because I like so many different types of music and because my taste is so refined. 'Acid Rap' is another tape where every song sounds different.
Being in the space that I am as a writer, and just as a black dude in America, there's this push to be cool or be what you're expected to be. There's a need for a song that puts that in perspective. I think that's an important thing for young children to hear growing up.
I can't see myself ever having somebody say something about me on a song and me being like, 'All right, now I'm about to say something about them on a song.'
One of my favorites has always been 'Swap Meet.' One of the reasons why I like that is it's a song that's in a drop-D tuning, and of course, also being a guitar player, it's one of the songs that I really like the riff on it.
When you are writing a song for something else, if you are doing something for money, I always think that's bad luck.
I honestly think that with every song you release you have to keep winning your own fans over again.
The Chili Peppers do a lot of improvising, but it's within the framework of song structures. The Meatbats is from a purely instrumental standpoint. But when you hear the term 'instrumental music' you think it's real serious stuff and everybody's playing a million notes and it's about playing fast. That's not what we do.
Ultimately, I'm a fan of music. I describe writing music sometimes as hieroglyphics, like, you know, excavating, gently brushing off these artifacts and discovering the song underneath it all. It seems as if it is already written in it.
Everyone who moves to New York City has a book or movie or song that epitomizes the place for them. For me, it's 'The Cricket in Times Square', written by George Selden and illustrated by Garth Williams.
I think that the song 'Movin' On' can be a personal song. We've all been in relationships where we weren't necessarily happy.
Acting is about giving yourself away, like the U2 song 'With or Without You.' You just don't stay behind a character and make people laugh or cry. At some point you have to take off that mask, and when you do, you're a human being, not just an actor. After all, I'm Catherine the person first. You share that.
Sometimes I feel like I finish a song, and there's another song that I have to write in response to that song. Each is like its own separate feeling, its own separate universe.
Music actually inspires me a lot. I listen to a lot of music, and often I find that if I can associate mentally a song or a piece of music with a particular character or scene, it helps me get back into the head of that character.
I'm always imagining some sort of story behind the song, even the ones I haven't written. I'm actively engaging in playacting.
Everything I do is collaborative. It's just my way. I'm really very interested in how the other musicians perceive the song.
'Peace Train' is a song I wrote, the message of which continues to breeze thunderously through the hearts of millions. There is a powerful need for people to feel that gust of hope rise up again.
One song I do is 'The First Cut is the Deepest.' I try to remind people I wrote that song, not Rod Stewart.
I am a big car enthusiast. I totally understand guys like Jay Leno who have a thousand cars. But asking me my favorite car would be like asking my favorite song or favorite food - it changes everyday.
I can't control how high my song goes on the charts, you know what I mean. I mean, I can sway it a little bit by working as hard as I can, hopefully being a decent person and giving good interviews and working hard on the road and being nice to people and shaking hands and doing everything you can do.
There's nothing that makes you so aware of the improvisation of human existence as a song unfinished. Or an old address book.
Whenever I'm feeling kind of down or something like that, or even good, the song 'Bohemian Rhapsody' by Queen is a go-to song of mine. It's like watching a movie, but with your ears.
I feel like there's no subject that can't be sung about. I wrote a song dedicated to people with inflammatory bowel disease, and then I wrote about shoes. And mangoes. Every rock should be turned.
With Rock Band, you can play along to Black Sabbath or Nirvana and possibly find new ways of appreciating their artistry by being allowed to perform parallel to it. Rock Band puts you inside the guts of a song.
To really be tortured by a song, it needs to be more than just something you don't like or don't get; it has to make your skin crawl by getting under it. Strangely, that last clause could describe provocative or daring music, as well.
I guess this song isn't about anything necessarily sad, but it makes me sad just because it makes me think about how inaccessible the past is, but it's called 'Boy Child' by Scott Walker.
I guess I've gotten older and more sentimental, and I've realized that the love song is just the modern equivalent of a devotional.
I was actually really stunned that my label suggested 'Door' as the single to lead with, as it's such a long and winding song.
As soon as we wrote the beat for 'Romeo,' I knew it was a running song. I was thinking about it in terms of the body. What do you want to do? It's not a song you want to dance to.
I almost gave up on 'Door' so many times. I couldn't crack it. It started out as a simple song with just a chorus-verse-chorus. I felt like it needed to transform more.
Sitting next to Olivia Newton-John, I was like, 'Do not sing one song from Grease.' That's all I was telling my brain at all times: 'Do not sing Hopelessly Devoted. Don't do it.'
People do notice me - I'm always so surprised. When I dyed my hair blond for 'Suburgatory,' people would still recognize me from 'The Last Song,' when I had red hair, and I didn't even recognize myself.
I'm not the same person as the character I do in my songs. She's crazy! The 'Daddy Song' was the first sketch I ever wrote, especially on the guitar and everything - and definitely the most offensive. And absurd.
I like when the song starts to take over and you feel like you have to dance more than write.
Well, I make every song I sing personal. I've never chosen a song that wasn't.
Whenever I get to a point I'm so tired that I forgot the verse of a song, I know I'm burnt out.
Weezer's 'El Scorcho.' I'm in a '90s cover band called 'Straight 2 Video' with members of the crew from 'The Vampire Diaries,' and we played this song at our wrap party. I grin from ear to ear every time I scream this song in my car.
I like to know that when I'm 90 years old, I'm going to be able to look at a song or poem I wrote and say, 'Wow! I remember I was so crazy about this person,' or 'I remember what that day felt like.'
A lot of the music I write is about love. Sometimes I won't understand how I am feeling until I write a song about it.
I've had writing sessions with people, but I've never had one where you're just there, and you start making a song, and then it's too good to be true that something really cool will come out of this.
Madonna can still produce a catchy pop song, but she hasn't expanded her artistic vocabulary since the 1990s. Her concerts are glitzy extravaganzas of special effects overkill. She leaves little space in them for emotional depth or unscripted rapport with the audience.
'If Our Love Is Wrong' is, quite simply, my coming out song, as I was trying to wrap my head around my sexuality and was starting to learn about songwriting, and that my honesty and my authenticity came from my personal experiences and writing about stuff that genuinely bugged me or upset me.
'No Matter What' is, without question, the most personal song I have ever written and the one I am most proud of.
Even if you have a big tune, live crowds can get sick of it. It's not just about the song but also the staying power and if people have connected with it in a certain way. I know that the tracks I put more emotion and depth into are the ones that have the staying power in clubs.
I've never understood why someone does a cover of a song just exactly the same. If you do something, do it a little different so people have a new experience.
Great music is its own movie, already. And the challenge, as a music fan, is to keep the song as powerful as it wants to be, to not tamper with it and to somehow give it a home.
I can play songs that I hear from a movie and just play it a few times on the keyboard. I will hit all the notes on the keyboard until I find the right key, and then I will play the rest of the song.
'Gorilla Man' is a composite of a few individuals, but the song itself was actually inspired by James Taylor. I spied his 'Gorilla' album laying on my floor and in some altered state, instantly started singing the chorus. It was fun to write. There's an old notebook with at least three more verses in it somewhere.
In 2012, I dropped a song called 'Like To Party,' and that just took me all over the world.
I usually listen to various kind of singers. Curtis Mayfield was my favorite. James Brown, Tina Turner, queen of soul, I started to get that musical essence from that time before I even do my first song.
I recorded the song live in front of an orchestra, and yes, I was very moved, I was in tears.
As a member of Guess Who, I think 'No Time' was the best thing we ever did. It was a pivotal song in our career.
Once I was checking to hotel and a couple saw my ring with Blues on it. They said, 'You play blues. That music is so sad.' I gave them tickets to the show, and they came up afterwards and said, 'You didn't play one sad song.'
The art of the three-minute song is more like journalism than writing a big 400-page book. You want to be brief, you want to make sense right yen and there. And sometimes that takes a bit of work.
To me, a song like 'Demons' or the title 'Trouble Will Find Me' are acknowledgments that you can't really plan for life, and you can't plan for trouble.
In terms of the music, it feels almost like trouble's a good thing - you never know when a song is going to surprise you. We look for these subversive moments in songs.
I released a song called 'Let Em Know' off SoundCloud, and some fan commented on it and was like, 'Trap soul movement,' and I was like, 'Man, that's dope. What is that?' And it just sounded like my music. That was the perfect word to describe my music, so I was just like, I'm going to call my project that.
'Been That Way' is a song that Timbaland gave me. Actually, the beat is. And then he called me to come out there to Miami. I went out there to work with him, and he gave me two beats for my project. One was 'Sorry Not Sorry,' and the other one was 'Been That Way,' and I recorded both of them in my hotel.
Vine is where 'Don't' started popping off. A lot of famous Viners used the song, and that was crazy because I had never been a part of something like that. I drank champagne for the first time when it got 100,000 plays.
I can't wait to see someone else from Louisville make a hit song 'cos that'd be dope. I can only imagine how J Cole would feel if somebody just came out of Fayetteville and started booming with some crazy records.
I didn't say I wasn't gonna do rockabilly. I just said I ain't gonna sing no song that ain't a country song. I won't be known as anything but a country singer.
The quality of the writing, really. Simple as that. Beautiful words. It's very nice as a singer to do great songs, which have wonderful lyrics and strong feelings underneath the song.
Seriously, my music really does help my acting, and, like, getting in and out of a character from a different lifestyle and writing a song about it. Likewise, my acting inspires the music because I can write a theme that I wouldn't necessarily approach at all in life.
I shouldn't have acted. I didn't exhibit any ability. I was one of the kids in the school play who was just mouthing words, and they weren't the actual words of the song. I was pretty lame!
I tend to overthink things. I'm not the guy who screams 'This is a world smash!' when I finish a song.
Songwriters, you have to work - you have to wait for residuals. You have to pray that the song's going to be a hit. And then a year later, you might get a check.
'Nothin' on You' by B.o.B was the first song where I heard myself on the radio. I'd been trying my whole career to write a song like that, which incorporates live instruments with hip-hop and singing.
A songwriter writes songs all the time, whereas just writing a song can be done by anyone, anytime.
I'm not afraid of being thought of as someone who is associated with film music. Why not? If it's a good song, what does it matter?
My favorite song as a boy was definitely 'Downtown' recorded by Petula Clark. I still love it! And the original cast recording of 'Gypsy'; I played my mother's cast recordings until there was no vinyl left.
Saying you have a political solution is like saying you can write a pop song that's going to stay at the top of the list forever. I don't have many illusions about this, but I'm not cynical about it.
When I wrote the song, The Way It Is, I wanted to move people to take a stand on civil rights in this country.
Our approach makes it so if you hear a said song of ours in 2003 and then you hear it again in 2009 it's probably evolved and changed a good bit, and hopefully for the better.
I woke up one morning with this song in my head, and the opening line of the song is, 'My name was Richard Nixon, only now I'm a girl.'
'Gifts' was just a short little one-verse song that I used to close shows in the '60s.
All of the drama with my family and me and my mom and the separation between us and all that crazy stuff - I actually wrote about that. I have a song called 'Dear Mom,' and it's about the trials and tribulations with my mom, so I wrote about that and just everything that I've been through.
A song like 'Heartbreaker,' it's a song about learning - it's not necessarily a song about heartbreak. It's more than that. We write those songs to relive how we got over something.
There's not a whole lot to do in Athens. When I was 13, I just started entertaining myself by writing songs. I'd sit in my room for 10 hours playing the same song, stacking vocals, trying out different drum beats, realizing no one would ever hear this but having so much fun. I guess I got my voice from just doing that so often.
I've been very hands-on with everything I've done since I had my children. And it's just really important for me to understand the big picture, where everybody's coming from, what's the real purpose of this shoot and this song, or whatever it is in that moment that I'm doing.
I don't like when a song goes from one mood to another unless it's going to be out of sight.
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