Song Quotes
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The people that only listen to one song from a record and flip around that much, if that's the only way they listen to music, they're probably the kind of people that like music as something to drive to, you know?
There are so many songs out there in the world that - if I know we have to come up with a new cover, then I'll just sit in my room and sing song after song and figure out which one I can kind of sing the best.
You know when a song has a melody or some kind of element that affects you, and that is what I am trying to go for.
The song 'Can't Look Back Now' by the Weepies reminds me of the entire 'Life Unexpected' experience.
If you're going to write a song, try to get together with a collaborator because it's better to write with collaborators.
Probably not much of a song left in me, you know, if any, because I've written so many, some 250 songs or 300 or whatever it is.
I believe that writers run out of material, I really do. I believe very strongly in the fact that when the natural time is up, writers actually do run out of material. To me it's black and white. When there's a song there's a song, when there's not there's not.
I wake up in the morning and I say 'Ahh! Today's the day for a song! I'm going to write a song today!' And I do. I write a song.
You know what? I'm not always in a positive, happy place. But I'm able to concentrate enough to come up with a really good song.
Songwriting is actually a really great outlet. I kind of recommend it. You get to sum up whatever is going on in your life in a song, then perform it really passionately.
The jazz chord substitutions in a country song... that was another thing that bent people's ears. I guess that my favorites are the unique ones. It's not how fast you play. It's that unique blending of different stuff I'm most proud of.
What I love about piano and vocal is it's incredibly pure, and it gets down to the essence of the song because you're not distracted by an orchestra. When it's just a piano and a voice, it's about the purity of singing the song.
One of the interesting things an artist does is they keep rediscovering things, whether it's a jazz piece or a role you've done for 3,000 performances or a song you're singing for the 3,000th time. My job is to find that spark that keeps it fresh and alive.
I would hope somebody out there will still want to hear a Backstreet Boys song when I'm 50-something.
'I Want It That Way' is a feelgood song. It's happy, easy to sing along with, and everybody knows it.
Stevie didn't use the technology to drive the song. He used it to enhance. I use the tools to further my work, I don't use my work to further the tools.
People now have been conditioned to believe they should only buy one song at a time, that nobody can make an entire record that would merit you paying, you know, $7, $8, $10 when CDs in the '90s were $18, $19 and people bought millions and millions and millions of them.
I just felt like I'd rather listen to even the worst metal song more than most current pop music.
We were the rebels of the music industry so we wanted to write a rebellious song.
I'm not interested in possible complexities. I regard song structure as a graph paper.
In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
People assume that the meaning of a song is vested in the lyrics. To me, that has never been the case. There are very few songs that I can think of where I remember the words.
With 'Get Hurt,' we wanted to see where else we could go with the band. We thought it was time to change things up a bit. The song itself is similar to the feeling of a wreck you see coming, but long past the point you can avoid it.
One day, I was just fingering around on the keys of a Fender Rhodes piano, and I came up with this little riff, and all of a sudden, it morphed into a song. It had never been touched by a guitar, which was very weird for us. 'Under the Ground' is the first song I have ever written that had nothing to do with the guitar.
I should say that I usually have a good experience on Amtrak. Still, if Amtrak could replace electric horns with steam whistles, they could make big strides. A horn is a horn is a horn, but a steam whistle is a voice and a song. People used to know which engineer was running which engine based on the call of the whistle.
I never have used any other artist as a model for a sound or a song. It always has to come from an emotion, and capturing the essence of that emotion in a song.
When it comes time to where the new album gets closer, I start singing the song a cappella; I'll preview it on my Snapchat and get creative with it - just kind of bringing everybody into more than just listening to the record on album.
I've always wanted to title an album 'Illinois.' I wrote the song, which was a very special song to me. The song isn't exactly about being from there, even though I am.
I was onstage singing with Luke Bryan, and he started singing a song that we hadn't rehearsed. Both Luke and myself just winged it.
I think when you sign a recording deal, you think, 'I'm going to put out a song and have a hit right away. I'll be a giant superstar. I can take over the world now.' But I put out a song, and it did OK. It wasn't like leaps and bounds.
'Wanna Be That Song' has everything I want to say about love and about what I'm trying to be. I wanna be that part of your life, that song that means so much to you, the one that takes you back to that special place... the song that makes you laugh, the song that makes you cry when you need to cry, that makes you dance when you need to dance.
I was about to walk on stage at the Kansas Speedway - I was playing a NASCAR race - and I said to Scooter Carusoe, who was standing side stage, 'I want to write a song called 'Wanna Be That Song.' Then I put my earphones back in and walked right out on stage.
I have no problem with people illegally downloading stuff. I'm not going to drive hard into 'You should buy my stuff,' because really, it's inevitable. If you like a song, you're going to download it for free. I have no problem with that.
Writing a song to be a single is hard, and I don't like to focus on that because you can get caught up in making something just terrible, which is really easy to do if you're focused on making it a single. It's more fun when you focus on what excites you musically.
There's actually a song called 'Vegas Lights,' which I wanted to be an anthem for Vegas, that represented how I felt when I went to the clubs. I felt this weird energy where everybody was having a good time, and it didn't matter. Dancing like nobody's watching. It was kind of beautiful.
I recorded 'The End of All Things' right before I married my now wife. We had no vows publicly, so I wrote her this song and told her, 'This is how I see our relationship.'
I've always wanted to do a cutesy little song with a guy and girl singing back and forth and thought that Regina Spektor would be kind of cool for that. I love her voice. She's an amazing musician.
I think, for me, one of the biggest things that I struggle with is keeping the excitement up when writing a song. A lot of times, I'll get pretty frustrated early on.
My own personal favorite Cher song is the unforgettable Gypsies, Tramps and Thieves.
I've always gone to see all kinds of shows and stole what I could, as we all do. We see an artist and hear a song and think, 'I bet I could sing that song. I'll put that in my show.'
It's pretty cool that artists like Flo Rida and Bingo Players can be inspired to interpret a song like 'Piano in the Dark' in completely new genres. As an artist and writer, it's the highest compliment we can be paid.
I learned early in my writing career that if I try to tailor a song for someone else, I'm usually off base. They're usually looking for something from you with your character.
I go through cycles with my writing. I have cycles where I'm up all night and lose track of time, and then I go for months without a thing to write about. My song 'So Good, So Right' came to me while I was washing dishes after a dinner party.
I don't sit down to write a country song. I don't sit down to write a rap song. I just sit down to write a song, you know what I mean? And I try to make that song the best it can be.
There's a song called 'My Faith' that's kind of my spiritual song on my record. It's a little bit of my softer side of me, comin' out of left field a little bit.
I stand firm behind the belief that, for me, songwriting isn't something that I do or command, it happens to me. I can either choose to stop and acknowledge it, or put it off and hope that it won't fade away. 'That Wasn't Me' is no exception - it came together more quickly than any other song I have ever constructed on my own.
When we were doing 'Live at Benaroya,' the song 'I Will' was hard to get through. I've always get a big lump in my throat when I sing that song. And also 'Before It Breaks.' So I'm just a different songwriter now. And the older I get, the more difficult it becomes to deliver those songs casually.
Very rarely is there any confusion as to when a painting or a song is finished. You just know when it's done.
'Human' was controversial within The Killers way before it was controversial to the rest of the world! It caused some problems within the band. Not to throw anybody under the bus, but it was pretty much me and Dave against Mark and Ronnie for a little while. We were standing up for the song.
Solace is my favorite song. It was the last song we wrote for the record. It was right when we really started to mesh as far as music goes and we started really connecting with each other.
If I get an idea for a song, I have a melody for it. I'm a musician first. I'm not limited by the fretboard.
As a guitar player, it's harder for me to impress somebody than it is to write a song that they like.
If there's a song where there's a possibility of guitar stuff that would be fun to listen to, go for it. Don't worry about what anybody thinks.
I've been ripping the Rolling Stones off with every song I write in some form or another.
I'm the smart aleck. The class clown. I'm the guy who does the song nobody expects.
I'm not a person you can figure out in one month. And you can't listen to one song and say, 'That's who he is.'
The hardest part about writing any song is, what do you write? And how do I rewrite things? You start to run out of ideas that feel fresh.
The truth is, I mostly thought about 'Accidental Racist' in terms of my fans. This song was meant to generate discussion among the people who listen to my albums. What I was most worried about is that my fan base would think that I was preaching to them.
If somebody says, 'Do you remember the first time you heard a Rolling Stones song?' if you say you do, you're crazy. You've just always heard them. You might remember the first time it impacted you, but the first time you heard one, you were in a cradle.
I worked with Snoop, but I would love to work with him again, but DMX... I would love to work with him as well... I met him in Atlanta; I went to one of his concerts; I would love to do a song with him. I respect him and really like his music.
I started writing my own songs from the time I was a little kid. I would write my own lyrics to other people's songs that I heard on the radio and take whatever song and make it about fairies and angels - whatever little girls sing about.
I think what it means to be an 'American Girl,' and what I wrote the song about, is our freedoms. The idea that we as Americans can be what we want to be and say what we want to say and that we take it for granted.
'Teenage Dream' was the most difficult song I've ever been a part of. We wrote five different versions of it. We couldn't get the lyrics right. Max Martin and Dr. Luke wrote most of the melody, and then Katy Perry and I were responsible for getting the lyrics right.
I was writing songs as a kid about leprechauns and Catwoman and teapots - whatever it is that little girls wanna sing about. The first song I wrote was called 'Kitten.'
After struggling for so long in the industry and writing so many failed songs and hearing 'no' for so long - I'm so grateful every time I hear a song that I was a part of on the radio.
I wish I wrote 'Don't Speak' by No Doubt. I mean, that is a classic heartbreak song; it gets me every time.
I've always had a teenage thread running through my music. On my first album, I had a song called 'Confessions of a Teenage Girl.' It's about using your feminine wealth to get what you want.
The original title was 'Waking Up Diagonal'. It's the first line of the song. I just thought it was more interesting than 'I Don't Care', which is such a boring title to me. When I hear that song, it breaks my heart a little bit because it's my story.
I know 'Hallelujah' isn't actually a Christmas song, but it has that cozy, haunting vibe that sounds like a winter's night and belongs by a fire.
When you find a song that you love, you just have to do it - why would I try to match it? When I wrote more of the songs in the '90s - 'Nick of Time' and other songs I was surprised I came up with - it was because nobody else was saying what I wanted to say.
I would love to do a Bond song, and I could have done a Bond song: I was offered a Bond theme, but I turned it down because I didn't like the song. But as it turned out, I was right anyway because the song was the only Bond theme that never became a hit, so I'm glad I wasn't associated with that!
I never enjoyed making videos, even though the 'Total Eclipse' video was nominated for a Grammy along with the song. We lost out to the 'Billie Jean' video.
What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
U2 is sort of song writing by accident really. We don't really know what we're doing and when we do, it doesn't seem to help.
I used to get worried about writing a love song, because everyone else is doing them, and there are already enough of them out there. But I came to realize that there's a reason for that: Love is powerful, one of the most powerful emotions there is.
It's not that I don't love the song. My songs are like my children: some you want around and some you want to send off to college as soon as possible.
I like a very dark house, just black. I sit there and just think. Once I'm still and quiet inside, I'll begin. It's very personal; it has to be. One song may be Bach, the next blues, a song from TV, or a nursery rhyme or jazz piece.
Triple H is very hands-on and approachable. My whole 'Glorious' song is because of Triple H. Before I even signed my contract, we discussed what I wanted to do and what he felt like I could do. It's been a real joy working for him.
I'm looking forward to some more solo acoustic dates. That's a lot of fun for me, because I get to be alone with the song. And I get to hear every little nuance; if my instrument does something that I wasn't expecting, I get to chase that. Chase that down a little bit.
I really like the thing I did with Martina McBride. I had that song sitting around for a long time.
You're not going to hear me do a rap song, you're not going to hear me do a jazz song. We have to be true to our roots, do what we do, and try to do it a little better each time.
I have this lust for the so-called South Seas. I would like to explore every corner of the Pacific. You know the song: 'To everything turn, turn, turn, there is a season.' It's just time.
I stepped back from being out front to playing bass. So we started switching: I'd play bass on one song, we'd switch on the next song; I'd play piano... we'd play mandolin.
I've never written a political song. Songs can't save the world. I've gone through all that.
You try to make a film, and you have to come up with the money. You need a big crew; you need to ask people for favors and get permission. If you have an idea for a song, you can pretty much go into your basement with your band mates and do it.
The successful artists are completely narcissistic and self-referential. Every song is about them. They talk about themselves. They talk about what they have. They talk about what they're going to do to somebody else. They talk about what they're going to get.
I lost my brother in a car wreck when I was 14 years old. When I decided I wanted to be a country singer, my dad always told me, 'Son, you should write a song about your brother.'
I always wished I had a song like that George Strait song, 'The Chair', 'cause it's basically just a guy trying to pick up a girl at a bar.
I'd love to write a song that someone else sings that can actually sing really well.
I believe that when we sing, we worship twice. We express our thoughts into words, and our words into song.
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