Song Quotes
Most Famous Song Quotes of All Time!
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I'm very proud of 'Will the Sun Ever Shine Again.' That was a song written very close to the 9/11 event.
I love 'The Gospel Truth,' the song that opened up 'Hercules.' I thought that song was a lot of fun, and I really enjoyed producing that and writing that.
The act of writing a song involves a degree of letting go of yourself, and that's very much being a child.
Movies, there are moments when you're writing a song or demoing, a moment in the recording studio. Musicals much more just eat up your life for a certain period of time.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
He's written some great songs. I thought that 'Blues Man' was a perfect song for me to do as a tribute.
'After 17' is a song I wrote when my first daughter went to college, so that's kind of where I'm at in that part of my life. If you listen to that song and knew anything about me, you'd say, 'Oh yeah, he wrote that about his daughter,' but I try not to write them that they are so specific that they wouldn't apply to anybody that has a child.
A lot of times when songwriters get together and write a song... somebody will come in with a hook and a lot of times they come out with something that sounds a little crafty.
A lot of times, the choice of the right song will save a scene. Or there will be a scene that's a little flat and you put in the right song and somehow it just comes alive.
There's no reason anybody should be reading too much into 'Thrift Shop.' I just have because I have a 10-year-old and a 7-year-old who are really into going to lyric websites, hitting print, and printing lyrics for every song that's popular.
My daughter, who is 7 years old - I have no idea where she learned this - she made a video where she's beat-boxing. We have no idea where the beat-boxing came from, but all of a sudden, there it was. Now we're launched into lyric sheets for every single song that is current. They're all over our house.
Living here in southern California, I'll miss hearing Rocky Top for an entire week at the end of December. I was actually looking forward to it. Tennessee has a better fight song than Nebraska.
It's hard to really articulate what the parameters are that make one song parody-able and another song not, but if I can come up with a good enough idea for it, I go for it, and if not, then I have to move on.
By the time I'm in the studio recording my parody, 10,000 parodies of that song are on YouTube.
My mother and father come from that post-Depression, middle-of-World-War -I kind of thinking that says, 'Find a practical job. You know what I mean, Mr. Big Shot? So, you can sing a song ...'
It is a very serious consideration for a lyricist to step in there and suggest the meaning to a song. The music is speaking for itself.
Let's get with it, guys: You don't need to hear a Ministry song to get political. You should be political on your own. We're just a side project to society. So do I care what people think about me personally? No. I just do what I do.
The 'Raining Gold' video naturally took on one of the messages behind the song, which is you should never assume anything about someone or a situation just because it looks a certain way on the surface.
Unfortunately, 'How You Remind Me' is the song most perfectly suited to my voice.
I barely listen to the radio, to be honest. I don't want anything infiltrating my ears that I don't want to possibly put out in my song.
Recently I danced in a video spoof of the song 'Gangnam Style,' and it was quickly banned across multiple Chinese online video platforms. But the story still traveled all over the world, carried in hundreds of international media reports.
After much inner debate, I can safely proclaim that Mungo Jerry's 'In the Summertime' may, in fact, be the best song ever recorded.
My brothers each reacted differently to 'Blood Sandwich.' It's a very specific type of odd feeling when there's a song written about you. People react to it differently.
I want to make an album my grandma and my fans are going to like. I want to make my grandma understand a drop and make club fans understand a song.
If you really want a radio station to play your song, go to that radio station every day with that song in your hand and say, 'Please play it.'
When you're walking down the street or in the car just listening to the radio, and you're, like, 'Oh, that's my song.' You want to say, 'Hey Mom!' That never changes.
I really believe it's not bad to look back within music. I don't mean retro, but using your own memories to make a song because our memories are what make us who we are.
With 'Philharmonics,' I had to do a lot of interviews, and it was like I was corrupting something. In many ways, I've said everything in the song. And either I can't go back to what it was because it's changing when I play it, or I still haven't figured out what the song is about.
It's always difficult to know if a song needs more than piano, and I worry about my tendency to go in a sparse direction.
When I record, it feels like I'm in a bubble. There's nothing else in my head right then. It's just that song, and I'm trying to really sound like what the song is about.
I love the song 'Picasso Baby,' and I think the performance art piece was brilliant. I love that fact that Jay Z is continuing to raise the bar on hip hop.
I know all my different formulas to get certain sounds. I've been doing this so long that I don't experiment anymore. Or let me rephrase: I've been doing this so long that I don't have to experiment as much. You always want to evolve and change, but if I go in and I know it's a certain type of song, I know exactly where I'm going to place the mics.
For example, after developing a sound similar to an elephant trumpeting, I wrote the song Elephant Talk which gave my elephant sound an appropriate place to live.
Irish fathers still have certain responsibilities, and by the time my two daughters turned seven, they could swim, ride a bike, sing at least one part of a Woody Guthrie song, and recite all of W. B. Yeats's 'The Song of Wandering Aengus.'
The way I write my songs is that I have to believe what I'm writing about, and that's why they always end up being so personal - because the kind of artists I like, they convince me, they totally win me over straight away in that thing. Like, 'Oh my God, this song is totally about me.'
I wouldn't be able to write a song like 'Someone Like You' and get someone else to sing it because it's so personal. It's like giving away your heart.
It's an enthralling experience to be in front of the mic and record a song.
Music does not have colour or religion. If I listen to a song, I don't care about the colour, religion, or country of the singer. It doesn't matter, even if it is in another language, because I love the music.
I sang a song at my sister's wedding. My mother forced me into that, too. But that one felt all right.
I think people sometimes confuse 'catchy' with something that should automatically be a hit in today's world. I mean, obviously we write a lot of stuff that's catchy, that sticks in your head. But that doesn't necessarily mean that middle-school kids are going to want to listen to a song about a lawyer or a Subaru or whatever.
I think in most cases, when you're writing a song, you're just making up a little story, and you're not really thinking about making a point one way or another about it. You're just coming up with a little scenario and seeing it through, and that's it.
If you're sitting in a place like Martha's Vineyard, I don't think you're going to write a song about a ski resort.
I always have to be thinking about who's going to be singing this song, what the context is. I don't sit around just writing in a vacuum, ever.
What should a song be about? It's a trick question for songwriters because lots of amazing songs aren't 'about' anything. Or, at least, they're not about anything that's obvious or logical.
I generally prefer to come in to the studio with a fully written song and then work on the arrangement with the band. Sometimes even the arrangements are pretty much already worked out in my head, but other times we experiment.
I'm just like anybody else: I have stuff to do in the day, whether that's writing a song or recording a song. I try to treat everything I do as just work.
I worked at Johnny Rockets. For one day. I had to quit because they said that anytime a particular song comes on the jukebox, all the servers have to stop and do this special sing-along and dance, and I just knew that I wouldn't be returning.
I got to see Jack White. I love his new album. There's a song on the album called 'I Think I Should Go to Sleep' that my son loves. We play it on a loop around the house, and he just bounces around.
I've had 'Spanish Flea' stuck in my head since 1998, so in a subjective sense, that is the song that's playing whenever I enter a room.
The act of song writing and recording became one and the same to me; because I essentially recorded everything I did from the day I began trying to write songs. I've always had a lot to say. I'd always written poems.
Flawed Design' is a song on the record and it explores why people feel a need to present themselves maybe not necessarily as what they actually are. It seems like in society, a lot of people want to be or try to be perfect.
I wrote a song on the record called 'Flawed Design' and it's basically looking at that, and it was just exploring how everybody obviously has flaws. I think to embrace those flaws - enjoy them, embrace them - and actually be a real person is something that a lot of people struggle with, myself included.
I've seen people who like a certain song write on their Instagram what they think the lyrics are - which they aren't. I'm like, 'Oh, that's interesting - you can create your own adventure with some of these songs.' Which is really cool.
I don't know what the sound is or the song is until I've spent a lot of time on it. I'm always chipping away at it, rethinking it.
When you're in the moment and not over thinking the song is when things tend to really work. You're not so focused on the minutiae. You're focused on the overall feel, and that's the stuff that I get from the demos.
I usually know the general emotion of a song, or the general feeling of it, and then I think I just get so excited by the act of recording. I love that process so much that I feel like if I knew exactly what I wanted I'd arrive at something too soon.
I don't like drums dictating the song; like when you hear a fill and then you know the chorus is coming up.
I would spend about eight months on a song, leaving it alone and going back to it later on. I just kept layering things on, building them up in to epic songs. I let the songs evolve - it's really daunting.
I just want to make that my life: recording music and trying to write a good song every day.
I think where a lot of the stuff came from is that it started as something else and then it was transformed into something that worked in the context of a song that I might have been working on.
If I improvise vocals at an early stage of the song, I just kind of listen to the roll, and then I kind of have a little vocal hook.
When you make a record, you get to live in an imaginary world where you have the best kind of band on every song.
With 'Slave Ambient', I was writing things on top of loops. Now I really get the structure of the song down, but I leave room for improvisation in the studio.
If someone is sad, they put on a song, or if someone wants to rock out, and they want to get into a good mood, they put on music. Just being able to be a part of something like that I feel like was my ultimate push to do music.
I listen to Helmet - and I love Helmet, they're a great band - but every song sounds the same.
I never thought 'Stairway to Heaven' was a long song. I loved how there was this part and then there was another part that was completely different.
I have an office full of product from brands trying to be in videos and an inbox full of songs from artists, but at the end of the day if the artist doesn't support the brand or it doesn't make sense for the song, then it will never work. What we do is try to pair them up so that both sides are happy.
'Brand-Dropping' is the term that the Kluger Agency coined to describe discreetly advertising by product mentioning in song, and we feel we can make this the way of the future without jeopardizing any artist's creative outlet or typical style.
So pretty much, to sum it up, if you can freak someone out and bring that kind of emotion out of somebody with a song, you're doing something right.
Not every song has to be about love and tenderness, sometimes you have those strictly physical feelings for somebody and it's okay to have those feelings.
My favorite thing to do as a kid was pretend I was in the opening credits of a sitcom. As the theme song would play, I'd look up at the imaginary camera and smile as my name would flash on the screen.
Being from Philadelphia, 'Parents Just Don't Understand' was a big deal - I have audio of my brother and me singing that song.
I'm not the type of guy to go so deep with the concept songs, but there's deep thought in everything. Maybe it's not just a repetitive hook telling you what the song is about - you have to use your brain a little bit.
My 9-year-old daughter can recite every line from 'Easy Rider,' and that is not an easy song to do. She raps all of Nicki Minaj and everything; she's dope. She has my musical ear for sure. She sings, and she's beautiful. It's very powerful.
You can make a hit song in 15 minutes. I don't know about someone else's song, but songs that people like of mine, I've created in 15 minutes or less.
If I would make a song dedicated to any woman, it would have to be my mom because, you know, she's been there since I came out of her. She would have to be the one... my mom or my daughter.
I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.
I've started getting acclimated to writing on the road and on the spot. I just let whatever I feel at the time come out, instead of really sitting there and taking days to write just one song.
Of course, if you're gonna make a rap song, you're gonna want to sound like Melle Mel.
There's songs you listen to at really heavy times, and you associate those songs with being depressed. 'English Rose' by The Jam, I can't listen to - it's just too heavy for me. 'Julia' by The Beatles, too. That popped up the other day, and I had to skip to the next song. They're both really awesome, moving songs, but I can't listen to them.
I head a Salt-n-Pepa song one time, where they named every rapper in New York. And they didn't name us!
I don't know why we sold a lot of records or why so many people came to see us. Like 'Sabotage' - would you put that song on, like, 'I'm gonna listen to that right now?' It's a weird choice.
'Halo' I wrote with my grandpa in his nursing home. When I went to visit him, he'd often comment on my halo. But of course, I couldn't see. And he always - he had pictures of Jesus with these beautiful halos. And so I asked him if he'd write a song with me about Jesus' halo.
The buzz you get when you're playing a song and everyone is screaming and dancing and what have you and singing along is incredible.
I remember hearing the song when I was 12 or 14 in - it must have been in Chicago, 'cause we didn't have a radio on the farm, and it was during the second World War. I had three brothers in that war who went overseas.
You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
I never really got paid for 'Tell It Like Is,' but I look back at it and say God knew what he was doing; he probably figured that if I had got money back in them days, I wouldn't be here now. That's okay. I'm here. And I'm still singing the song.
Sometimes in the middle of the night, I wake up with a song in my head, and I have to finish it so I can fall back asleep.
The first album I ever bought with my own money was 'Ten.' Every single song reminds me of my childhood.
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