Song Quotes
Most Famous Song Quotes of All Time!
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I think it's really important to show new styles of song and music. I think that's what people want to see and hear from me.
It's weird what can trigger the beginning of a song or some bars. It can be a banging slice of apple pie or it can be smelling a certain perfume or something.
If there's a track that's rhyme friendly, the verse will basically write itself. If the track is less rhyme friendly, you have to put forth a little more effort to get the song out.
Anyone that I've ever worked with, it's not like I just meet you or someone throws us together for the sole purpose of coming up with a song that's gonna be a hit. I have to have some sort of relationship, or we had to have interacted on some other sort of level and that's when it feels most natural.
I don't sit down and write a song, and then slam down the phone like, 'We got another one!' and pop some champagne. It's like if someone's writing a novel: You write a series of drafts.
If I want to be the sexy Bipasha Basu, then I'll do a song here or a glam role there. But I want to be part of films that are watched, films that earn money and are new age, with author-backed roles.
I think it was when I was 12 when I entered a singing competition. I sang my own original song for an audience of 1,000 people.
Sometimes you're inspired by an old-school song that you want to chop up and make a sample out of it. I find that with a lot of older Motown music.
Taking the higher ground can be difficult, so it really helps when you can write those feelings into a song.
For a person as obsessed with music as I am, I always hear a song in the back of my head, all the time, and that usually is my own tune. I've done that all my life.
In order to actually have a touchscreen in front of me and somehow still be connected to nature, I needed to be able to incorporate natural elements into the song structures. Because that's always been my song-writing accompaniment: nature.
I hear a really good pop song every now and then. 'ROAR' by Katy Perry, I love that! 'Poker Face'... Oh! What a song! And 'Rolling in the Deep'... Oh!
For me, music is this incredibly cerebral trip. You turn on the radio or put on a record, and it's your song, it's what you see.
It's a simple formula for me now, I don't play any song I don't want to play.
Right before 'Brian's Song' there was a period when I was very despondent, broke, depressed; my first marriage was on the rocks. The role of Gale Sayers had been cast with Lou Gossett, and then he hurt himself playing basketball. I was called in to read for the role. I was their last choice, and I knew it.
I think a song that's got something to say. I'm not much on gimmicks. I never have been because they don't last. But I like a song that tells a story and has some meat to it, you know, that means something.
Experience is definitely the high road once driven. It actually enhances the songwriting and song sourcing process.
In an age of incompetence, I've been able to last in this crazy business. I actually know how to play my ax and write a song. That's my job.
I did write a letter to the archdiocese who'd banned the song, Only the Good Die Young, asking them to ban my next record.
There are alway going to be bad things. But you can write it down and make a song out of it.
Writing a song is so personal. You have to have trust in someone you're working with; otherwise, you're not gonna come out with something that's really you.
You can write a song about being in love with someone, but you don't have to be in love with anyone.
'Bellyache' is totally fictional. I like writing about things that aren't real. The song is about not trusting anyone and then putting trust in yourself and realizing that you don't know what you are doing, either. Or realizing that things you do with a group of people that you think are cool in the moment are ultimately all on you.
I feel like I write so that people can think of it as theirs. If my song is exactly about your life right now, then it is - I don't even want to say that it's mine, because it's yours.
What makes a song last is real content from a mind that is thinking a little bit harder about certain things. A lot of artists don't really think that hard.
People have so much going on in their heads. I'm like, If you could write a song, you'd feel so much better!
My brother had written 'Ocean Eyes,' and we recorded it, basing all of the production around contemporary and lyrical dance. I think of most songs that way - if you can't dance to a song, it's not a song.
I used to write random little stupid things when I was five, but then the first song I really wrote was one called 'Fingers Crossed,' which is on SoundCloud.
Being an artist doesn't just mean you have a song. That doesn't make you an artist. The word 'artist' means so many different things, and I feel like to be a real one, you really have to do it all. The people that I think of as artists - Tyler the Creator, Childish Gambino, Kanye West - are doing the most.
If you write in the same way over and over again, like, in the same place with the same techniques and with the same people, you're sort of writing the same song over and over again.
But, in the end, even a song that's as politically bland as Blowin in the Wind, you probably wouldn't get up and sing that now, whereas some of Bob Dylan's love songs that were contemporary with that, like say Girl from the North Country, you can still get up an play now.
Emily Dickinson never developed. She remained loyal to her persona and to that same little metrical song that stood her in such good stead. She is a striking example of complexity within a simple package. Her rhymes are like bows on the package.
You're always frustrated, you don't have the chance to do a song on the album, like the Beatles did with Ringo and George, or like Led Zeppelin, where everybody was given a chance to contribute. There never is a chance with the Stones.
I think everything's experimental whether you like it or not. I think that people who do generic pop are experimenting with cliches. It's no less than I am experimenting with noise or unknown music - until you say, 'This is my song, or this is my composition' - it's all experimental, whether you like it or not.
Every so often, if I'm in a melancholy mood, I'll sing 'Desperado' in my shows. I'll sit alone at the piano and play it as a solo. The song feels like an old friend - except now it's saying, 'You were a desperado once, but you worked your way out of it.'
I think 'Lovin' Feelin' was probably one of the most - probably in '64 and '65, one of the more dramatic love songs for these kids to grab hold of. I mean, they had been listening to, you know, kind of cute songs, and 'Lovin' Feelin' was just a strong, powerful song.
The 'Billionaire' song is what my kids tease me with. They sing it to me. It's funny.
When I write a song, it is to fill a niche in people's lives. To have a song for every experience if one hadn't been written yet.
Prose is like this big block - you write big paragraphs. I feel that when I'm reading and writing, that a prose book is kind of monolithic. But a song is more like a feather or something.
In college, I would follow Bob Dylan around, and I would show up to a concert, and he would sing some song he hadn't sang in a long time, and it would speak to something, and I would think it had some great fateful implication.
I was very lucky - how many people can say they did a song with John Barnes and played football with him?
I feel like 'Beware' is a heartfelt song - it's something that is definitely a story, something that I cultivated from personal stories, some from just other stories in just wanting to make a good song.
'Sally' is just a song that I wrote talking to my alter ego. When I write, I don't really consciously say, 'This is what I've been going through in my life, and I'm gonna put this into words.' It's just a song that I kinda went in and did. Then, listening back to it, I realized, 'I'm talking to myself.'
I just want to unify people. A crowd full of people singing one song... that doesn't derive from anything dishonest... It's someone's truth.
I remember the first time I ever wrote down a song was when I was 6. I was at my friend Emma's house, and we wrote a song called 'Girls' Rules.'
You know, being the artist and not knowing when you sometimes create a song, you don't think about whether it's gonna start controversy or whatever. Sometimes you just write and you're in the zone.
I think doing a record with B.B. King allowed me the opportunity to blend two different generations across the board and make a song that I hope is extremely impactful.
People will reach out because they know I'm trying to put my best forward when it comes to subject matter and creation of song.
I would say when you're dealing with live musicians and musicality, the warmth of a live instrument brings a certain feel to a song that is really hard, sometimes, to get from synthesized instruments.
On 'Krit Wuz Here,' I had a record called 'Return Of 4eva' on it. And then that launched me into doing the actual 'Return Of 4eva' project, and 'Return Of 4eva' had a song called '4eva And A Day.' So it's like, all of my music has somehow tied into the entire story.
My intent for EPs - and, really, my philosophy on my music - is that every single song has to be worth it.
I don't do filler songs. I don't get them. They don't make any sense to me. Why would I literally waste my time on a song that doesn't hold up to the same standards as the other songs on the album? I won't play it live.
There's always a time when you think you've done your last song or you've written your last rap or, you know, people are not checking for you.
Sometimes when you have a song, you listen to it and say, 'It's OK. It's music to drive to.' But then there are songs where you can actually hear it as a movie.
I became inspired while I was listening to music on the radio. I felt the music in my head sounded better, so I turned off the radio and scribbled it down on a piece of paper. I remember that it was in May. People liked that song. They said it was beautiful. I felt overjoyed.
The song 'Some Other Time...' is full of emotion. In wartime, it had a tremendously poignant feeling.
I do like musicals, but I'm not so well-versed in them. I would rather tell stories that just so happen to have a song in them, like someone has a cabaret number.
I'm a song and dance girl. I can act enough to get by. But that's the limit of my talents.
I learned to embrace my individuality, and if that meant writing a song on one chord over and over again, then that's what I do.
Before you worry about what genre it is, about whether it's a loop or a drum, it's about what suits the song. It's using what's within your reach, but also reaching for everything you can. I don't know if I always get it right, because I don't know every sound yet.
I try to imagine how we would live if we didn't know we were going to die. Would we live our lives differently? Less careful, maybe? Less scared? These are beautiful things to think about and build a song around.
I've just put my heart and soul in a song and need at least a week to recover.
'I'd Rather Go Blind' was a song I did on an album with Joe Bonamassa called 'Don't Explain,' and I've always been such a huge, huge Etta James fan.
Sometimes, the songs that really affected me were not from the artist catalogue of their music, like the song 'Thunder Road' by Bruce Springsteen. I never got into any of his other music, but that song, to this day, is in my top three lyrical masterpieces of all time.
If I don't relate to a song, I won't sing it. The thing is that if I wrote it, I'm always going to relate to it.
With songs, it doesn't matter what song it is; every time I go out and perform it, it's like the first time I'm performing it, the first time I wrote it. If it's not, then I'm not going to do it that night.
I always think that you should never, ever force a producer to do something with a song that they don't think they can do something fantastic with, I think it's a stupid idea to force it, even if you think it's your best song.
My job is to work at song writing and singing and telling the truth in song writing. My job is to be courageous enough to go on stage and tell the truth, the same truth that's gone into my song writing.
I worked with Mrs. Davis for four years, and then she realized, as the material started getting harder, that I had never learned to read. I was just listening as she'd play the song, and I'd play it back. When that happened, she got very upset and stopped being my teacher.
At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.
I learned that if you bring black people together, you bring them together with a song. To this day, I don't understand how people think they can bring anybody together without a song.
Does not the very word 'creative' mean to build, to initiate, to give out, to act - rather than to be acted upon, to be subjective? Living photography is positive in its approach, it sings a song of life - not death.
It's pretty funny to me when I hear people say, 'I write six songs every day,' or, 'I turn out a song a day.' I bet you that's a whole week of bad songs.
I'm not the kind of writer that goes, 'I'm gonna write a song about sunshine,' or, 'I've just heard a phrase, so I'm gonna write that,' and then I write a song. I'll wait for inspiration to hit, and you can't depend on it.
There are times where I'm just open to receive songs. I sit down, and a jam will just come out, all at once. It's like, 'Song. Done.' I can't really explain it. This isn't the best way of putting it, but sometimes I feel like I'm a magnifying glass for vibes.
It really is draining: when you sing a song, it means so much to you, and every time you sing it, you feel it ,and these emotions come back.
To write a song and have it embraced by someone, even one person, I don't think that's something that everyone gets to experience.
You don't know how a song is gonna do; you don't know where it's gonna live. You know if it feels real, if it feels authentic.
'Life Changes' is a song that we feel really connects to the spirit of our band and our fans. It's got that positive vibe we always want to put out there, and the message - no matter how many times you get knocked down, always get back up - will forever be part of the GC story.
It does feel really good when you play a new song, and it's the loudest singalong of the night. It means just as much when we're playing the old songs, and people are singing along to those, too.
I try to find little things that you can do to move the song along and things that serve the song.
If you call attention to yourself at the expense of the song, that's the cardinal sin.
You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
I was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.
What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.
Listen to the Beatles' 'Things We Said Today.' Ringo Starr does not play a fill in the entire song. It doesn't need it. 'A Day In the Life' has gorgeous fills, but there, the song needs it. When I play on any record, I'm striving to get where Ringo is. You play what doesn't take you out of the song.
Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
Sometimes you're gonna write a song and it's not gonna be right from the beginning. And you're just gonna have to work through that wall. But if you know something is there, you've gotta just keep doing it until you get it right. So, I'll work on a song for three months if I have to, to get it right.
I'm not deciding what the artist is going to write about because it's the artist. They're gonna have to sing that song for the rest of their life. When they're old and they're 80 and they have their show in Vegas, they're gonna have to sing that song for the rest of their life.
Most of the time when people work with an artist, they don't give them what they need for the future, they give them what their last album sounded like. So it's like, 'Oh, One Republic needs a song, why don't we send them 10 that sound like 'Apologize?'
When you're making music, it's meant to be shared with people. Sometimes, even if I'm writing a song, someone else brings a vibe. There's something different about it. If someone can play a better bassline than me, I'll let them do it. I'm just here to fit in and see where it goes.
In hip hop, it's a lot more about lacing a hot track. I start it, I help mix it, I help write it, I help produce it, I cut the person's vocals. I'm involved from the beginning to the end of a song. I'm not just giving someone a beat, you know?
I don't listen to the radio, cause I don't have a driver's license. But if I'm in L.A. or somewhere where we have to rent a car, I'll hear my songs. Sometimes I hear them when I'm in stores, and I'm still like a little kid in a candy shop: 'Oh my God, that's my song!' I don't know how that could ever get old.
When you're like, 'Yo, we gotta write a hit song, we need a hit song right now,' that never works. Every time that happens, I never write a hit song.
Everything needs to be catchy because a listener is either going to stay with the song or lose interest in the first five seconds. But people also like those songs they can relate to and say, 'Yeah, I went through that.'
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