Song Quotes
Most Famous Song Quotes of All Time!
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Growing up in the '90s, I just loved 'Ice Ice Baby.' I knew, and still know, every single word to that song.
Every song is something that I've been through or an emotion I've felt - like falling in love or heartbreak.
Me jumping on a song with Ariana Grande is just showing versatility, you know what I'm saying?
I'm not the best at choosing what's good and what's bad. I wouldn't even know what's a good pop song and what's a bad one. With that said, I wanted to say what's true to me. Some people might say that the Skrillex record was pop, but that was just about the chemistry between me and my boy.
When you don't know how to pronounce words, when you don't know the meaning of the words, how will you imbibe a song with feeling?
Every day of my life has been a challenge - from singing a song that is not my type to being asked suddenly to sing a classical song with no practice.
If we don't put some acting in a dance song, no one would be able to dance on it.
You cannot enter a studio and just start crooning before the mike. It is essential to understand the mind of the composer, mood of the song, and meter of the tune.
I performed six concerts all over the U.S.S.R. during the time of Gorbachev. The entire audience was Russian. There were no Indians. Period. The audience turned out in large numbers and gave standing ovations to all my songs. They knew each song. That was an amazing experience.
I liked the way they treated the first, second, and third place finishers equally. It was an amazing year. I only entered two song contests this year; I won one and placed second in the other. And I entered each of them a day or two before the deadline.
I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.
We human beings are tuned such that we crave great melody and great lyrics. And if somebody writes a great song, it's timeless that we as humans are going to feel something for that and there's going to be a real appreciation.
My father would make me stand on the table and make me sing. He would give me a P1 reward after every song.
I think I was 10 or 11 years old. I think the first song I learned about then was 'Open Arms.' Then, when I got tired of listening to 'Open Arms,' I borrowed my friend's Journey album, 'Escape,' and tried to listen to every song.
As a songwriter, I do kind of look at 'Santa Monica' as a thing outside of itself, because it isn't just my song. This is a song a lot of people tell me is a part of their high school or college years. That means a lot to me.
'Santa Monica' was a big song, and I always knew it would be radio friendly. But it's not a defining song for me, though for a lot of people it is.
You have all these song titles and song time, and you put it in a certain order, and you slap a cover on it. That's a record. That's how I've seen all my records.
When a song blows your mind the first time you hear it, you don't know where it's going. It's blowing your mind as it's unfolding. Then there's that sensation that you're actually going to remember the song.
If a song's about something I've experienced or that could've happened to me it's good. But if it's alien to me, I couldn't lend anything to it. Because that's what soul is all about.
I'm so thankful for 'Backseat' because it's doing so much. It's almost at two million listens on Spotify. It's changed my life. It was the song that Dreamville really pushed and they just really made it explode, and I'm just so thankful.
I met India Arie, who is one of my favorite artists of all time. It was really sweet; I was broken up with a month before, and she stayed up texting me all night and was helping me through it. Her text message looks like a song of hers. She's sort of become my fairy godmother.
At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn't come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.
'Jesus of Suburbia' is such a dynamic song from start to finish; it's nine minutes of craziness and hectic-ness and emotion... It's one of those songs where I know that for the next couple of days, I don't have to go to the gym, because I got my workout running around the stage and thrashing to Green Day.
With song titles, I try to keep a healthy sense of humor while saying something at the same time.
In future also, we would like to back films that can be considered slightly risky since they don't have song and dance.
We met Ferg at one of our shows in L.A. She gave us her number. For the song 'Shut Up' on Elephunk, we needed a vocalist. Someone said 'yo, remember that white girl - we should get her in the studio.' Since then, we've become friends. She's one of the guys now, she isn't just a girl.
Queen Latifah once came up to me and said ‘Bebot' was her favorite song. She said, ‘I don't know what you're talking about, but it feels dope!'
It's rather nice to think that a song such as 'What Kind of Fool Am I?' is a standard that will be around for many, many years.
This is sort of not expected, but I would love to produce a record for Missy Elliott. It would be totally different, but she makes party music. 'Lose Control' was my favorite song when I was in 5th or 6th grade.
The thing I love about Marshmello is that he caters to individual songs as a producer. He has his vibe, but he also really puts something on the song that the song needs instead of having his thing and everything sounding like him.
When I heard 'Rockabye,' I was just blown away. It had been a long time since I had heard a song that had a message like that in it - about being a single parent and caring for your child.
I feel like if I've written a song about something I haven't experienced, I wouldn't be able to perform it properly, and people would be able to see that. People can see right through that.
Whether or not I considered myself a country singer, when I sang a country song, I was as good as anybody.
When I sing a pop song, I'm a pop singer. When I sing a country song, I'm a country singer. I've been very lucky to cross over, because by doing that, you can't be pigeonholed.
As far as k. d. lang is concerned, she grew up devouring my music. She sent me a song when she was 8 years old, and she says I never wrote back.
I'll be, like, grocery shopping or doing something totally mundane, and once a day, you'll hear a Cyndi Lauper song on the radio. It is astounding what an icon she is, not just in popular music but in popular culture.
I would be on dates with guys, and the radio would be on, and if the Moody Blues song came on I couldn't concentrate on the guy; I would go straight into the music.
Music became less understandable in the wake of the new MTV era. You weren't supposed to be anything other than a pop star, to not go deeper than that. It was really strange. It was suffocating, image-wise. What you could talk about in a song changed; if you were misunderstood, you were really misunderstood - taken literally.
When 'Quadrophenia' came out, I turned on to that because of the whole story with it, and there were just some really amazing songs on there. 'Love Reign' being the quintessential song on that record, I think. That was always one of the cornerstones of my temple, that song.
When I make music, I always try to do more than make a song that makes people dance and have fun. I try to send a message or give a reason for people to discuss it further.
I'm not concerned at all to have a number one song or a top 10 or top 50 or top whatever.
I've been with Rita Ora in the studio doing a song of hers. She's amazing. She's a sweetheart.
It doesn't take much for anyone to pick up anything I play - it's quite simple. I go for a good song. And if you hear a good song, you don't dissect it - you just listen, and every bit seems right.
We've always been quite clear about how we want the songs to sound. If we can imagine the song being played at a party, and it gets people tapping their feet, then it's in.
We always try to get new songs. That's what AC/DC has always been about. You can listen to what we do, and you can go, 'Well, it's AC/DC, but it's a new song.' So that's what we've always tried to achieve. So we've always got that style.
Every song becomes an emotional journey for me, and only then will the soul of the song remain honest.
'Kolaveri' is one song that people feel connected to. While I am bored of the song, it seems people aren't. I really can't say what worked. But I can definitely say that the song made me what I am today.
I love radio, but it's a very limited thing today. Everything has to be edited down to 3:59, and too bad if I didn't make my statement in three minutes and 59 seconds. Everybody's song has to make its point so quickly.
I would make far more money if every song were my own, but I don't write to fill up the album with my songs.
Right now, I'm Writing song lyrics. Experimenting with a play. Toying with an idea for a documentary. I hope one of these will eventually be launched into the light of day.
Depending on which day, and how I am feeling on that day, I have a different favorite song on the album. One day it might be 'Karma', and other days it is 'Stay For A While'
For me, hip-hop was a mirror when young-adult books were not. I could see myself in a Nas song more than I could see myself in a book.
I like The Smiths - I would love to do a song with The Smiths, because they are so sonically different.
There's little kids on trains coming up to me, singing my theme song, and they can barely walk.
It's not hard to create a song, but to write a song that's really going affect somebody? That takes a hell of a lot of time.
'Honey, I'm Good' is a song about temptation, and we wanted to show what is possible if you can beat it.
I saw my dad doing it and thought to myself, 'I can do that.' I would be backstage watching him and running around the country with him singing to children. He would sing songs that taught children really good morals: like, 'Teaching Peace' was a song he used to sing to kids a lot.
For me, it's always been about a mix of hip-hop, acoustic singer/songwriters, and piano rock. I pull all those together. Each song may lean more heavily on one than the other, but they all have all three pieces.
The first song that I had that went platinum was 'Keep Your Head Up,' which was a long time ago. Then, you get 'one-hit wonder' with that.
There are pretty girls all over the place. But there are still a lot of people standing strong, doing their thing in loving relationships, actually staying true. I wanted to write an honest love song from that point of view.
I think there's a song for every moment. I don't think there's one right love song.
You know when you hear a lyric and you can tell that the person means it? That is really hard; that is so much harder than it seems: to find the topics that you're passionate about and have it come across as like, 'Yeah, that guy needed to sing that song.'
There's two things that are tough when you're trying to be a songwriter: Number one is, how do I write a great song? The second thing is, how do I write a great song that's right for me?
I tend to be an all-in-type of guy, so I get in a zone to write, and then that's all I do. I'll spend eight hours doing nothing but chasing that one song. That's what works for me.
Even a song like 'Give Love,' in my head, there's a question as I'm writing it, going, 'Is this cheesy? Is it too on the nose to say 'give love?''
I really wanted to write a song like Eric Clapton's 'Wonderful Tonight.' It's just such a sweet sentiment. It's so simple but so genuine.
If I write a sad song, at the end it's gotta be like, 'Dude, things are looking up!'
I try to imagine what the greatest song I could ever write would sound like, and then try to do it.
Even the king of phrasing, Frank Sinatra, did not do as well as Joe Cocker with his reinterpretation of 'Something' by George Harrison, which Sinatra called the greatest love song ever written.
I can still remember the first time I heard a Beatles song. It was the fall of 1964, my second year in an American school after my family moved back from overseas, and I was standing on the corner of 64th street and First Avenue with my friend Larry Campbell.
I'm a composer, and therefore I know when I've written a good tune. When you've written a good song is when you know that the lyric is completely coalesced with the song.
I wonder what would have happened if automation and computers had existed when 'Oklahoma!' was having its out-of-town try-out, and three days before closing in Boston, when it was still called 'Away We Go,' they added a new song called 'Oklahoma!' I don't think that could happen today. It's almost impossible to change musicals on the go now.
You can't just sort of come with, say, 'Yesterday,' or 'A Hard Day's Night,' and it be in the wrong place in the wrong show, and expect the song to work theatrically.
The fact is that 'The Wizard Of Oz' has never really worked in the theatre. The film has one or two holes where, in the theatre, you need a song. For example, there's nothing for either of the two witches to sing.
I think from the very beginning with 'We Are Young,' there was never any question about where we wanted the song to go and what we wanted it to sound like. And we knew that we wanted it to be big, we wanted it to be booming over the speakers at an arena or something.
All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.
Because, in opera, I have to sing for people that are very far from me, instead of, when I sing a song, I try to imagine to sing like in an ear of a child.
A love song must respect the canons of music beauty, entering the fibers of those who are listening. It must make them dream and pleasantly introduce them to the universe of love.
I am honored I have performed 'Quizas Quizas Quizas' with Jennifer Lopez, an eclectic artist who thanks to the charismatic power of her voice and to her soft sensuality, has managed to make this song particularly convincing.
To sing a song is like whispering to a child's ear. It is an art heavily relying on improvisation.
What is certain is that singing is not merely modulating a song by means of the voice: we sing and we celebrate the beauty that we can grow and live every day. If you want to sing and give emotions to those who are listening, you must have something to tell through your singing; you have to use singing like an instrument to tell something.
I wanna do a song with Adele! Nobody gets Adele as a feature, so maybe I can. I hope she knows who I am!
I tell people all the time - I'm a very spiritual person, so I pray over everything that I do including creating music, a new song.
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