Song Quotes
Most Famous Song Quotes of All Time!
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I let the song come to me. Then that thing comes to you, and you just know what that thing is. Music isn't like a 9-to-5 job. You never know. It's just the most unpredictable thing.
I might be eating something, and the bag opens in a cool way, and I'm like, 'I wanna put that in the song.'
Basically, any time you have a real life experience, that can be a song. Because no matter how crazy or weird you are, somebody's had an experience just like you, somewhere.
I want to make music three-dimensional. I want to make a song also a painting, and a painting also a culinary experience.
The songwriting of Hall & Oates is deceptively complex. There are a number of key changes that pass you by as you're listening to the song because they're so seamless and clever.
I decided a handful of years ago that I just want to write songs that you can understand as soon as you put the record on. There's no need to veil what's happening in the song the way I used to.
Death Cab always gets right of first refusal on everything I write, but I tend to know early on. There's a song that has yet to be released - it might come to light at some point in the near future - that when I was writing it, I was really proud of it lyrically.
I always try to write the best song I can in the moment, and those songs are often going to end up on Death Cab for Cutie records. I don't set out to write a solo song or write a band song. I just write, and where that songs ends up is kind of TBD.
I think a very clear cut example of - dare I say - plagiarism is the Sam Smith-Tom Petty situation, where you have a song that is flagrantly... it is the hook from one song being used for another song. To me, that was a very obvious example of plagiarism. If somebody had done that to me, I would probably take a similar course of action.
I don't feel that all the great songs have been written. I do feel that where we are now, certainly with rock & roll music, is that so much of it is variations on themes. But I think that it's one's particular creativity and individuality that comes out within that variation on a particular theme that makes a song great.
I would much rather hear a song that's written from a fresh perspective, using ideas that have existed in rock & roll for 50 years, than something that is incredibly abrasive to my ears but is new.
I think that the wonderful thing about music and about songs is that you can listen to a three-minute song whenever you feel you need it.
We went for the best overall feel on each song. There are no musical overdubs at all. It's a true live record; it's one of the few true live records out there.
I really feel there's no limitation on what this band can do in the studio or on the stage. That's an empowering feeling - that we can bring a song to life.
Of course, the kids who had never heard of a person called Ben E. King were then aware of the name associated with the song. That gave a tremendous lift to me as an artist.
Yeah. I'm amateurish. I can play enough to write a song, or strum on a little guitar to write out a song. But, I don't play well at all. I wouldn't even attempt for a second to play in public.
When I recorded 'Sun,' I wanted to do something with more of a modern sound. I've never done anything like it, and it was fun for me to sing, but I'm not really a dance person per se. However, I would love to hear that song in the club. I think it's a really good dance song.
It's a blessing as an artist to express myself - whether that be via dance, via song or via speech - in so many different ways.
It might crush a lot of people, but I've never been in the room with an artist that I've written a song for.
We write the song, then it gets played for the artist, and they somehow fall in love with it and go back in and make it their own.
I got so excited about it. I was like, 'Yes! I won a Grammy!' And then my manager was like, 'No, you did not win a Grammy. You were part of a song that won a Grammy. Rihanna won a Grammy.'
It's one thing if you write a song and somebody else sings it because you give the OK. But if your voice is on something and you don't get the credit, it's kind of hard.
I write all of my songs from scratch, so the one thing I love about EDM is the way a song transforms into a piece of art, and how the different sounds can change the feel of the record.
We play a hip-hop song and suddenly 25 people on the left jump up and put their hands in the air; then you play Lost Cause and they're like, I don't know about this one.
There's something different that happens when you're writing a song for your own record that you know you're going to sing.
I can't tell you how many things I've worked on where I sat on it for a few years, and then somebody else did something very similar. Whether it's some weird vocal effect you hear on another record, or a drum beat, or even a song title, a subject matter, or a mixture of different kinds of music.
There's more things that I'd like to do. You know, each song is a little bit of a puzzle. I see most of them as just failed attempts.
There are certain songs that just stick around and do something that transcends whatever time they were written in. Through different eras, people are able to impart different meaning to the song, and they become part of some sort of consciousness.
Honestly, are we ever going to get over 'California Girls' by Katy Perry? I know it's old, but that song - I love that song!
I'm all about telling stories. I like people to picture the music video in their head when they're just listening to the song.
My song 'Play It Again' is a perfect example of my music because the verses go so hard, and they're so urban; and then this pop hook comes out of nowhere and socks you in the face and makes you want to dance.
I really like Ariana Grande, Jessie J, and Nicki Minaj's song, the 'Bang Bang' song. It's the new 'Lady Marmalade.' So good.
I'm nosey, and I have a great imagination. So it's not necessarily things I have to go through, but it's things people I know or my family is going through, and I hear about it, and I think, 'That sounds like a great song.'
No one wants the picture-perfect song anymore. I'm trying to keep the beautiful qualities of pop - nostalgia, melodies, and the feeling that a beautiful pop song can give you - but make it real. It's not polished.
I went to the studio, and I freestyled 'Beautiful' in, like, an hour and a half, and I threw it up, and people were like, 'This song's gonna change your life.'
'Mine' was interesting because it was about the way that someone made me feel so loved - so beautiful, so special, so accepted. I knew that it was deeper than just writing a song about that.
Yeah, 'Mine' was inspired by a person, but it became much deeper than that. I obviously pulled lyrics... from stuff I was actually saying to this person and feeling about this person, but it was for people. I didn't want to make that song to impress that girl; I wanted to make that song to make people feel better.
I knew for a fact it was special, but at the same time, every single song I make, I know it's special. So 'Mine' was a completely similar feeling as I feel about all my other music.
It's truthful - every single song is an extension of me and a truthful piece of inspiration from my past or something I'm currently going through.
The thing is: in order to reach an agreement, to reach that balance, sometimes it is sort of like that old Rhinestone Cowboy lyric, 'There'll be a load of compromisin' on the road to my horizon.' For those of you who were too young, or don't recall the song, made famous by country singer Glen Campbell, it is your loss.
Not comfortable doing song and dance stuff as no normal person does in his/her real life.
There's only one drummer. We all travel to his beat. Well, I couldn't sing his song. Because for me, it wasn't a truthful statement. Well, Linda sang it, and it was a monster for her.
When you write a song you have an idea of how it should be sung but it doesn't work out that way if someone else records it.
To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.
'If I Should Love Again' - I was just so impressed with myself writing something like that. It wasn't a single and people didn't really know about it, but it's a beautiful song and that's part of what I'm loving.
If I waited for inspiration every time I sat down to write a song I probably would be a plumber today.
It's very hard to teach someone how to write a song if to begin with there's no creative crop to harvest.
The real danger of writing a great song when you're on something is that it might get you thinking that the only way to repeat that is by only writing when you're high.
There's a lot of instant spotlight and pressure when it comes to a Bond song.
I don't really have a favorite genre. I could listen to a rock song, a metal song, jazz, pop music, whatever. For me, whatever style it is, it always depends on the chord progression, the lyrics, and the melody used.
When I'm writing, it's the weirdest thing: it's not even a conscious process. I'm not even thinking when I write, and then all of a sudden, I'll have a song that makes me feel so much better than I did before.
I was the first Indian music composer to win the China Gold Award for 'Jimmy Jimmy' from 'Disco Dancer.' Adam Sandler repeated the song in his film 'Zohan.' 'Disco Dancer' is historical, as are 'Sharaabi' and 'Namak Halal.'
Throughout my career I've never worried about who will be singing my song on the screen.
I like rock music because it's always sonically fascinating. There's never a method to what it needs to sound like. It's just however that instrument comes out that day, whatever the humidity level was in the air, what studio you were at. All that makes that tone that you can't re-create, so each song is like a person.
I like people, and I like listening to them because something that'll happen out of that conversation could be the title or the subject of the song.
The first song I wrote was called 'Here I Go Falling In Love' I wrote it in the sixth grade.
Lyrics can be important, but ultimately, what pulls people in on a song is melody and the tracks and the way music feels.
I'm not going to make a song just to make a song. The day that I make an album, it's so that people really know what Bad Bunny's about.
I must have listened to at least 10 covers of Leonard Cohen's 'Hallelujah' - Jeff Buckley's cover is usually my go-to song.
If I write when I'm low, it will be a dark song, but I don't care. I want to be honest with myself at all times.
I don't have a favorite song that I've written. But I do have a favorite song: 'Always on My Mind,' the Willie Nelson version. If I could sing it like he do, I would sing it every night. I like the story it tells.
'She's Dynamite' was a 100 years ago, and I recorded that song because the company thought that it was a great song and it was hot. That was the beginning of rock n' roll, and I guess they thought it would be a BB King version of rock n' roll.
Lyrics are important, but it's hard, because English isn't my first language - although it feels like it is these days! I grew up with amazing melodies, so getting that right on a song has always been the key thing for me, but there's no reason why a great melody doesn't deserve great lyrics.
If I wanted to make a quick buck, there's far easier ways of doing it. What I want is to provoke people. If you want a hit song, all you need to do is rewrite an old song. It might have been proven to work, but you won't be remembered the same way.
My songs aren't bubble gum pop dance songs and I don't have background dancers on every single song.
The mall tour was right off of my second record, before it came out. It was very different. I did an acoustic performance every day in a different mall! One interesting thing I remember is playing 'My Happy Ending' a lot, and that song was so new that I remember getting emotional.
It's so easy for me to do a boy-bashing pop song, but to sit down and write honestly about something that's really close to me, something I've been through, it's a totally different thing.
I'm trying to use people like Meredith Monk and Philip Glass and Terry Riley as the backing tracks for new pop songs. It's really hard trying to use the format and write a pop song on top of avant-garde music, so we'll see. It could be cool, or it could totally flop.
My favorite part about writing a song is really when it's released, and I can see that it relates to so many people.
I like my name. My mom named me after a song by the 1970s group Bread. So, it's meaningful, and I like the song. It's a love song - kind of - but it's kind of depressing and dark.
I want a long-lasting career. I want to build up a fan base that will come to my shows and love me no matter if I have a song on the radio or not.
When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that 'Sit Here and Cry' is. I had a very specific visual vision for it, and when I saw Sam Siske's reel, I knew he was going to get it.
I love narrative videos, but sometimes I think they can limit a listener's experience of a song.
It's very important to me that every person takes away their own meaning from a song, and it's why I don't always love spelling out what a song is about for somebody.
'Sit Here and Cry' was one of the first songs I wrote with that overdramatic sarcastic dry sense of humor, which is why the energy of the song doesn't necessarily reflect the subject matter.
I do - very specifically, I remember Bessie Smith; I used to collect 78 records that I would buy from the St Vincent de Paul store at five cents apiece, and I did this indiscriminately. I would just take whatever was there. And I listened to Patti Page and Walter Huston, 'September Song.'
If I'm extra happy or excited, it'll take me an hour or two to write a song. Or, if I'm really sad or something, it will take me about a day. But I have a specific way of writing: I just listen to the beat. I think about what I'm going to write over the beat.
I have never composed a song keeping in mind that I should touch any social issues.
For me, lyrics are the most important thing in a song. And if they don't have meaning, I would never sing them - unless and until someone who loves your work asks me to do so.
Acting in a music video is basically about lip syncing songs and giving expressions that represent what the song is about. While acting for the silver screen, you have to deliver dialogues, remember them, and you have to be in a certain frame of mind.
I think have my own style; no one has ever tried playback singing before. I might release a punk rock song that perhaps other won't appreciate, but I like doing my own thing. I make music for my own satisfaction, not for money or fame.
I know so many people who have gone through just not very good situations, and sometimes you just need a song to help pick you up out of it, especially if you're going through the hurting part.
Sometimes I get in writing moods and I want to write a song every couple of days. Then sometimes I may not write a song for three weeks. It's just according to how it's hitting me at the time.
I listen to everything and find parts about a song in the lyrics/melody/chords/production that I like and can be inspired by when I write my next song.
In Norway, everyone knows everyone, and everyone is very supportive of each other. If there is anyone new, or a new song is coming out, everyone will probably know about it.
The day Guy Clark passed away was the day we wrote 'Girl Goin' Nowhere.' It was the first day I had met Jeremy Bussey, who I wrote the song with.
I grew up listening to an album start to finish, and you don't skip songs. You don't listen to a Paul Simon record and skip a song: you listen to it the same way you would eat a meal... the way the person who prepared that meal for you means for you to experience it. That's how you should do it before you add salt and pepper to it.
When I was 12, I wrote a legit song - about having my heart broken, of course, because I was 12 years old going on 40. I sang the song for my mom, and she asked, 'Where did you get that song?' I told her I wrote it, and she said, 'Really?' She looked at my grandparents and just said, 'Oh, boy.'
When I hear a great country song, I get chills and I want to cry. You feel something. And just sometimes that magic and the stars line up somehow or another, and it creates something that's really, really, really special.
I make up stories in my head all the time, but I've never written them down. But I write a lot of story songs. Any song I'm singing, I sort of see it like a movie in my head. That's why a lot of times I close my eyes when I'm singing.
I wrote a song with Kara DioGuardi called 'What If,' and it's a really beautiful song. It's kind of like a rock ballad. There's a lot of guitars and drums in it.
We've got to rediscover the Manchester United way of playing, and I don't think many teams enjoy their nights at Old Trafford when we're on song.
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