Song Quotes
Most Famous Song Quotes of All Time!
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The most amazing thing is being onstage and watching the audience sing every song lyric for lyric.
That's why I loved Dinah Washington. She sung jazz, but they called her the Queen of the Blues. She had the control and sophistication of jazz in her note selection and how to attack a song or certain lines, but then attacked it with a painful force of blues behind it. That's why I admired her so much, because of that versatility.
'Rise Up' is definitely my baby. I think it was a gift because, you know, it's like God just spoke to me and wrote that song. It's very powerful.
I was at a picnic, and there were a lot of songwriters. I remember praying, 'God I wish you would give me a song.' About five minutes later, my ears popped, and I saw everybody in slow motion. Nobody knew what I was experiencing.
I'd never written a song before 'The Blood'; I didn't know it was going to be a song.
I love a song that will usher in the very presence of God. Then there's no Andrae; there's no fabulous band, there's no greatness of ours. I've had hundreds of concerts like that, and that's what I try to achieve.
Every single morning, I have a person sitting right there next to me in prayer with a tape recorder - and a song comes up every day.
Portishead's production is just insane beats you would expect to be on a KRS-One album. But then there's this little white girl with an angel voice singing over it. It was a cool juxtaposition. I like 'It's A Fire.' That's a chill song with kind of a military drum thing going on, like a drummer boy.
There's this old Frank Sinatra song: 'If you can make it here, you can make it anywhere'... that song was about New York, but it applies to America. People know that if you make it in America, you can make it anywhere, and that is both in terms of sophistication and customer satisfaction.
My writing often contains souvenirs of the day - a song I heard, a bird I saw - which I then put into the novel.
I write songs about stuff that I can't really get past personally - and then I write a song about it and I feel better.
I don't listen to a lot of new stuff. I just like the old stuff. It's all quite dramatic and atmospheric. You'd have an entire story in song. I never listen to, like, white music - I couldn't sing you a Zeppelin or Floyd song.
I have had an actor squeeze himself up against me during a shot in a song and whisper in my ear that he was so glad that I was in the film with him. When I threw him off me and refused to speak to him again, he made my experience miserable.
If my role in a film is meaty, and I get a good song along with it, then why not?
The great thing about a song is that no one has to know your story. But if you tell it in a way that has clarity and means something to somebody else, then it can apply to their story.
To me, it's all about the song. Songs are what make me excited. You hear a great song and you want to record it or get a great idea and you want to write it.
How we absorb music is unique. I know what I do. When I'm listening to music, I tend to find myself in a song. That's what really makes you connect is if you feel what that song is saying.
The song 'Baby Baby,' I so love that song because I wrote it about my first daughter.
We must have song and dance in our lives; we've had it ever since the inception of cinema in India. Our stories are very social-based, very human-based. We are a very emotional nation.
I have to tell you, when I hear the song 'Jiya ho Bihar ke Lala,' I want to throw the history books out of the window and dance!
The New Deal exists principally on an emotional plane for Obama. To him, the New Deal is something you play like a song, to make you or your constituents feel better.
Every time I write a song I feel really lucky and kind of surprised. Not surprised that I wrote it, but just surprised that things exist that you don't know about.
Honestly, I get character ideas from the most inane places. Sometimes a song will give me an idea. Sometimes I will just hear a snippet of conversation that ends up having nothing to do with the book that emerges.
Singing is a way of releasing an emotion that you sometimes can't portray when you're acting. And music moves your soul, so music is the source of the most intense emotions you can feel. When you hear a song and you're acting it's incredible. But when you're singing a song and you're acting it's even more incredible.
I come from a very musical family. My dad taught me to play guitar. I play violin and drums as well. Violin, I started in elementary school. Drums actually came when I was in a program called 'Rock Star,' which was really awesome. We were doing a song by the Ramones, so I thought, 'Why not play the drums?'
The reason I connected with music was because of the stories that people were telling and making me feel when I listened to a song.
When I wrote 'Monsoon,' I always imagined the music video being shot in India. The song had so much to do with my time in India with my mother as well as leaving her in India during the monsoon season to visit my family in N.Y. It really was a dream come true when I was given the opportunity to shoot in India.
I was in 'Jacques Brel' Off-Broadway for many years, so I've always been a singing actress, but the songwriting was a complete surprise. I had never written a song in my life. We were on the road with 'Jacques Brel' doing the national tour, and I picked up a guitar one day and I wrote a song.
I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.
I'm not the only one that's joined in the Maro Itoje song, to be honest with you!
He saw us play a few times in fact. I did this song called I Can't Keep From Crying Sometimes, and Jimi loved it. He paid me a huge compliment when he told me that he was thinking of doing something similar himself!
That's the beauty of creativity. It comes from the ether. I like to think, sometimes, it's like I haven't written it, it's more like I just reached up and grabbed it from somewhere. That song, 'Song of the Red Rock Mountain,' is one of them. I recorded it and thought, 'Where did that come from?'
The main thing for all of us was having a ballad, a slower song. Finally, they get to hear more of a vulnerable side to us! We didn't really have that in 'Reflection,' and that's something we all fought for.
'Can You See' is a beautiful song that follows a story of the star. It's a very inspirational song.
The sincerity of the art worker must permeate the song as naturally as the green leaves break through the dead branches in springtime.
In hip-hop, I wasn't very focused on delivering a message. It was just a string of lines that didn't connect. What I wanted to do is write stories... and affect someone's emotions with that song. I think as a soul singer, I'm able to accomplish that.
When I graduated from college in early 2010, I decided that I needed to create a calling card, some kind of business card that people can link to my name and face. So I did this 'Mad Men Theme Song... With a Twist' music video. I released it just as I moved to L.A.
Often the 'lead' of a classical song will have something really cool to its melody that - even though it might be a violin or something doing it in the song - I end up wanting to try something like that with my voice.
I love originating shows and originating songs - there is nothing better than being the first one to get to do a song.
Anything is food for starting a song. A song can start with a lyric idea or a melody or just a sound that inspires.
The ancient media of speech and song and theater were radically reshaped by writing, though they were never entirely supplanted, a comfort perhaps to those of us who still thrill to the smell of a library.
It's not that I have resisted songwriting, it's just not something I felt I have had to do. I've just not woken up and thought, I must do this. But I have often heard music that I have instantly felt 'I have to sing that song'.
Whenever I've chosen a song because it's clever, it's always turned out to be a mistake.
My strength as a singer is my versatility. I find it really frustrating when I'm only expected to show off. The music industry is awash with female acrobats. What happens to the song, and treating it for its sake and not as an ego example?
When I was first learning songs, I'd have a favorite song, and I'd take the chords and twist them around. I'd learn the chords and then play them backward. That was my first experimenting with writing a song.
Much of my experience with language was formed in the church, which has an oral tradition. There are lots of repetitions in prayers and song refrains. There's a sense of incantation, that if you call not once and not twice but for a third time, the spirit appears.
I have complete creative freedom. If I want to put a song on the album, there's no one stopping me.
I wanted to write an upbeat song where I could feel good about the fact that I've moved around so much and not sad about all the goodbyes I've had to face.
I started quite late. I only discovered that I could write a song when I was, like, 17... some musicians, they're starting out, writing songs when they're, like, 12, 13. I never thought I would go into songwriting when I was that young.
I didn't want to write a sad song to remind me of the fact that I'm always moving around. I wanted something to cheer me up.
Norm Lewis, who plays Jake in 'Side Show,' and I had a song together in 'Tommy,' and I understudied Mrs. Walker.
If there were a song from 'West Side Story' that I would do, it would be 'Something's Coming,' but in a sense that put it in the right key for me and then do that one.
I was 14. I went to see a production of 'Jacques Brel is Alive and Well and Living in Paris,' and when they got to that final song, 'If We Only Have Love,' it was like the top of my head had blown off.
Don't get me wrong: I love having my own song and being the center of attention, but I also love being part of the group and making the show work in a more anonymous way.
There is genuine healing in a beautifully crafted musical theatre song, like Stephen Sondheim's 'Losing My Mind,' or a pop music gem like Joni Mitchell's 'Help Me.'
I sometimes write songs on the piano, even though I don't actually play the piano. I always hire someone to play for me whenever I decide to sing a song I have written on the piano. My song 'Rosa' is one.
For me, in the audition, the song that you choose should make you cry. It doesn't matter why: it could be because you're happy, but it gives you that feeling that you're overflowing.
Whenever I like a new song, I play it on loop and dance to it. That's my therapy.
Hollywood has realised that we do have actors and are not just mad about song and dance.
I remember I was at a press conference where somebody came up to me with absolute confidence, like he knew me forever, and whispered in my ear, 'You should sing a song now. The Indian audience will enjoy it. Your songs will improve India and Pakistan's relations.' I clarified to him that I wasn't Ali Zafar.
I'm the kind of person who, if I like one song, will listen to all of the band's work before moving on to another group.
Every time you write a song, you're looking for some sort of perfection, and you never quite reach it. You're always looking for that extra missing piece.
I think I'm alright as a lyricist, you know? But then what will happen every couple of months or so is that I'll hear a song I've never heard before and feel I've gone right back to square one.
I think my favorite song is by Led Zeppelin called 'Good Times Bad Times,' a Rolling Stones song called 'You Can't Always Get What You Want,' and every song The Beatles ever wrote.
Nat doing 'Fault' was the greatest thing for our band, and the only reason that our song got in it because Nat was screaming it in the movie. Now we can say that we have a song in 'Fault in Our Stars,' and we have a thousand fans who went to listen to our music because we performed at an event for 'Fault in Our Stars.'
The song 'Take This Job and Shove It' spent 18 weeks on the country charts in 1977. 1970s country music fans had a clearer understanding of the ennui of wage-slavery than modern elites.
If my dog Ella, named after the Rihanna song 'Umbrella', could be with me at all times, that would make me happy.
During the 2012 Olympics, I decided to put on some cheesy pop because I knew Ellen White liked it. The first song was 'Reach for the Stars' by S Club 7, and before I knew it, everyone was singing it - suddenly it was our song.
Popular music usually has a chorus that needs to repeat, and people need to remember the song. That's sort of the major guideline when you're writing a song.
You really only understand whether a song's good or not when you properly play it out in public for the first time.
Even though I haven't released a song since 2010, I have still performed, so I don't feel I have been completely away from music. I have been away on a mainstream level, of course. But releasing a single this way - on my own independent record label - is more fun.
As long as each song makes somebody feel something, I think that's the point of it all. I don't want it to just be background music, you know?
I don't want to have one hit, one song of the summer, and then have me disappear forever. I really want my things to last, and I want my songs and my bodies of work to resonate with people. I want to hit people - at least make a dent in them. I want to make a mark somehow.
Frank Ocean would be incredible; I'd love to be a sponge and absorb everything he says. Every song he puts out, I'm like, 'Why didn't I think of this?'
If you're writing anything decent, it's in you, it's your spirit coming out. If it's not an expression of how a person genuinely feels, then it's not a good song done with any conviction.
I actually didn't listen to the Beatles song 'Nowhere Man' when I was writing my book of the same name. What I listened to a lot was 'Abbey Road.' Its disjointedness and its readiness to confuse only to delight were inspiring to me.
When people ask me for playlists, I always put in 'Moonlight Sonata' because it is my favorite song. I play it all the time.
Things that excite me are these four different bands: Wire, with a song called 'Champs,' Misfits, with a song called 'Hybrid Moments,' R. Stevie Moore, and Wipers 'Wait A Minute.'
A jazz tune, melody, or composition is usually based on either a traditional twelve-bar, eight-bar, or four-bar blues chorus or on the thirty-two-bar chorus of the American popular song.
In my opinion, I think sarcasm and humor in a song, without turning it into a novelty song, is really charming.
Typically I go in the studio and whatever I'm contemplating that day will wind up being a song. I don't come in with lyrics... I just go in and let it happen.
The more vulnerable and the more confused the song is, the equal and opposite effect is how I feel after having written it.
Unless I really loved it and felt really passionate about it, I would just kind of abort the song and start a new one.
I was 9 when I wrote 'Fate Stay with Me.' It was this fictional song about romance gone wrong.
Honey, unlike the song 'Same Parts' by Tatianna, what you see with Alyssa Edwards is always the truth. She is literally a walking catchphrase factory. She is like an oil out of the ground. She is reality tv, and I absolutely love her.
I feel like the theme song to 'Duck Tales.' 'Life is like a hurricane; it's a duck blur.' That's absolutely what it is.
If 'Drag Race' gets an Emmy nomination, I will put on a red glittery face mask over my mouth and I will lip-sync to an Ariana Grande song.
I wanted a song my 6-year-old niece could listen to in the car. 'Everyday is Christmas' sounds like a sweet sentiment, but in reality if every day were actually Christmas it would be a candy cane-riddled hellscape from which the human race could never awaken. So we're lucky it is just a lighthearted Christmas tune.
I was like, 18 and it was in West Virginia because I was allowed to get into the clubs in West Virginia, not Pennsylvania where I was growing up. And we went in and there was a drag queen on stage and she was huge and beautiful, but she was lip syncing to a song. I was legitimately stunned.
One week you may be an actor, and the next week you had to be nimble enough to be a TV host. And the week after that, you might have to do some stand-up or be in an improv company or write and sing a song somewhere.
I actually admire the Indian artiste 'Lost Stories.' He made a remix of my song 'Faded.' That is really good and cool because it actually represented Indian music. I just loved the song; it so unique.
The British ballads became a new kind of form in their hand. And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.
It's writing songs within the structure of telling a story, so it becomes a platform for diverse songwriting, for a writing process that's broader than just figuring out a song. You're also dealing with always pushing the story forward, with casting the voices, with the orchestration, with the arrangements.
I always wanted to have a villain song for Hades in 'Hercules,' but I couldn't figure out how we would have Hades sing.
When 'Newsies' first came out, it just crash-landed with a thud; it won a Razzie for worst song of the year, and I felt such embarrassment. Fast-forward, and it's a hit on Broadway, and I win a Tony for the score!
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