Song Quotes
Most Famous Song Quotes of All Time!
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I can't freestyle or else I'll just start saying anything, so I'll write the song first and then record. I'll rap to the producer and he'll make the beat off my rap.
I try to keep my ear to the streets without sacrificing who I am as an artist. If a song needs a drum machine I'll use a drum machine. If it needs a drummer, I'll use a real drummer.
I'd love to collaborate and write a song with Will Gallagher from Oasis. I think he's a great songwriter.
Factoring in millions of people when I'm writing a song is not a good idea. I don't ever do it.
I think I was perceived in one fashion. A video is based on a song. I think you can get glimpses of people's presence within that. There's some people you enjoy watching more than others.
Singing and being truthful to a song... I've developed that skill, and I know how to do that real instinctively, that's all I've been doing for the last 25 years.
I came across 'The Song of Achilles' by Madeline Miller in one of the most romantic ways one can find a story. I was digging through a pile of used books at my local library when my hand gravitated toward its brilliant teal and glistening gold cover.
Sometimes you want something really serious that makes you feel emotional and makes you think, and sometimes you do just want a pop song. What I love about Taylor Swift is that she offers both.
I wrote 'Jungle' in my bedroom when I was having a manic time with a particular girl. Everyone thinks it's this really upbeat song, but it's not; it was just a really manic time, so I wrote a song about it.
You cannot put a song - you cannot put a person's talent over somebody's humanity. That's just insane.
I would have to say Kelly Clarkson's 'Because of You' would be the song I would associate with coming out. It's really emotive, and personally, it reminds me of my father.
I think that kids need to grow up watching what I grew up watching - great entertainment; you know, Judy Garland and all these musicals that bring song and dance and acting all together in a polished way.
You gotta have fun with a song, make somebody laugh. You gotta have character. A hard punchline can make you laugh, but you gotta know how to say it.
I like to do really realistic paintings, which requires so much focus; like, if I have to go to the bathroom or change a song, I can't; I'm so in it.
I don't care if it's somebody else's song. Most of the time, you'll find that I'll put my own stamp on it. But I started writing more because, you know, it's easy to regurgitate what somebody else is doing, but it's exciting to be able to come up with your own writing.
The song of the blues, the song of the music, was something a lot of people missed out on. They thought they had to swagger a certain way or bark at the mic, and you don't have to do that.
Brazilian music has always been a part of us, but it's even more valuable now because of the sentiment or the theme of the actual song. So I feel like 'Street Livin'' is paying homage to what we started and it's touching on a lot of serious themes to DACA, immigration reform, prison control... all the things we address in the video.
We were just going for growth, bigger sound, just a spectrum of people. More global. That's how we decided to do a song like 'Where is the Love' - it allowed us to tap into a broader audience, because the message means a lot to us.
When I'm in the studio, I don't finish the song and say, 'That's going to be a big ringtone.'
I don't know if a song is going to be a hit or it's going to flop. I never know. I just do the music and if people like it, they like it.
I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.
My favorite punk rock song is 'Linoleum' by NOFX. That's pure harmony, the coolest chord changes.
The song 'Wolf Eyes,' I wrote because I felt like I was such a kitten. I want to be more of a wolf. I want to be stronger and more independent. I sort of wrote the song for that.
I think it's good if a song has more than one meaning. Maybe that kind of song can reach far more people.
It's such a cycle. You'll see a rapper drop a song, and next thing you know, he's gone.
One of the things that I think is such a constant in country music is that the song is so much a story. I believe it is supposed to be based around a story.
If I love a song I hope to find a way to get other people to love it too.
When I was in grad school, I had to admit I hadn't read Toni Morrison. My teacher, the novelist Colum McCann, said I had to. I read 'Beloved' and 'Song of Solomon.' Pretty incredible.
IU and I hosted a music program together, and she had told me that she would be writing a song for me. My fans call me 'Peach,' so when her new song came out, I called to ask her about it, and she confirmed that the song was for me.
'Spring Day' - I wrote main lyrics based on my personal experience with old friends. It is about my sad memories with him, and it makes me sentimental whenever I listen to the song.
I don't think anyone can listen to a Smiths song and not scream your lungs out in recognition of what it's like to feel odd.
Writing is an art, just like any other creative exercise - painting a picture, singing a song or dancing. It is an expression of your feelings.
It's hard enough to sit at a table and talk to most people as it is. But we can go to some town, and there's 300 people we've never met before, and by the third song, we're connecting with everyone in that room.
I've been reading about the idea of cyclical lives - it matches up to the idea of string theory and a multiverse. So I wanted to write a record about that instead of another song about broken hearts and drinking.
On every album I've put out, I've put diverse Canadian songs on it. They're not provincial album; my albums are national albums. There'll be a song about Saskatchewan and Vancouver and Nova Scotia on there.
You know, I always when people ask me, like, what is my most favorite song, I quote Duke Ellington, when they would ask him, what's his favorite composition? And I say, I haven't written it yet. Because, you know, there are different songs for different occasions.
Music, at its essence, is what gives us memories. And the longer a song has existed in our lives, the more memories we have of it.
I am in a business that's built on record sales and reputation and how your single is doing and where your song is on iTunes. But the kind of music that I do comes from my beliefs.
The autumn wind is a pirate. Blustering in from sea with a rollicking song he sweeps along swaggering boisterously. His face is weather beaten, he wears a hooded sash with a silver hat about his head... The autumn wind is a Raider, pillaging just for fun.
When Chuck Berry came along, what he did was more rock & roll than it was blues. It was more exciting. He was like the next step. I thought his first single, 'Maybellene,' was the greatest song in the world.
It was a lot of insensitivity, especially as maybe as far as the ‘Africa' video goes. But the song was about a fantasy.
When I did my solo album, I put on a song that I'd planned for Toto that never made an album constructed from a great drum track with Jeff and a bass track with Mike and the guys loved it.
Jeff always had a huge part in making a song a record. You felt like you were capturing lightning in the studio. It was never boring. He always was there to serve the song.
The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
I think that a song, when it works, never mind a piece of long form music, even a song is something that speaks to itself but has a language all of its own, ideally.
Whenever we play new material, eventually some of the songs become classics themselves. They can't become that unless you play them. Any new song is not going to go down as well as some of the old stuff, because obviously the old stuff the fans know inside out.
Sonnets are guys writing in English, imitating an Italian song form. It was a form definitely sung as often as it was recited.
Like most kids, I grew up singing 'This Land Is Your Land' in grammar school, but with the most radical verses neatly removed. This was before I knew it was a Woody Guthrie song.
But I'm able to just keep going, and that's the challenge. It's the next song. And then just enjoying the shows and people who come out to the shows. It's pretty organic, really.
You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.
I was at Stanford University up in the West Coast Bay Area, so the biggest song of my freshman year was 'I Got 5 on It' by Luniz, and the 'I Got 5 on It' remix was the joint that everybody was jamming constantly. And then it was also at that particular time that I became a fan of the Wu-Tang Clan.
It's of course important to mention that when DJing, I'm building my own story through the music. I'm figuring out what song to play next, what song to play after that, and how the two will blend together. How the emotion is going to develop from one song to another. So I first build that storyline.
'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.
Whenever I work with different artists, I expand as a song writer, as a producer, and I always want to try and find the bridge between my world and their world.
At my shows, I want to be totally sharp and focused on every single song, on every single thing that I do, and plus, I have to because I'm, like, caking someone and have to run back and mix the next song... and I have so much fast, quick reflex timing.
That was when Neil discovered Jack Nietzsche. They went off and pretty much came up with that by themselves, but I thought it was a great song, and I was more than happy to do my harmony parts on it.
I don't set out to write a political song. I am not one of those that feels compelled to write about what's going on.
It is forbidden to go east, but I have gone, forbidden to go on the great river, but I am there. Open your hearts, you spirits, and hear my song.
If you're dealing with a musical in which you're trying to tell a story, it's got to sound like speech. At the same time it's got to be a song.
On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.
When the song is part of the action and working as dialogue, even two minutes is way too long.
Every single song I've ever written is sung by a character created by somebody else. Some might have a jaundiced view of love, some don't. But none of these songs is me singing - not a single one.
I was essentially trained by Oscar Hammerstein to think of songs as one-act plays, to move a song from point A to point B dramatically.
I'm always conscious of what I'm writing, conscious of what the actor may ask me. I have a defense for nearly every line in the song.
I couldn't afford to go to the record store to buy new tapes, so I'd tape everything off the radio. Just hit record when my song came on. I used to take my mom's tapes and tape over them. I had a nice little collection. Had my own Stephen Jackson mixtapes off the radio!
The girl that introduced The Smiths' song 'Asleep' to me was an important musical influence that I met in college. From there it's been an ongoing journey of different bands at different times, introducing bands and songs to me.
I would love to do a collaboration with Lil' Wayne. I would have loved to sing on his song, 'How To Love.' I wanted to do the remix to that song really bad.
After all my years of doing instrumental music I still like just a simple instrumental song with a nice catchy melody and an opportunity to play a solo over a harmonic structure.
I think in some ways, it can do a listener a disservice to explain a song. I think I'd rather leave a little room for people to put themselves in it.
A song has a life of its own. It's an autonomous thing, separate from your own experience, almost. And the mere repetition of it means it's subject to change; it means approaching it differently, expressing different emotional aspects of it. It doesn't feel like wallowing.
Whether I am performing for an elite crowd or a crowd of 20,000 people - the moment someone asks for 'Agneepath,' and I respond 'Agneepath' chahiye?' the noise in the crowd, shows that this song has become huge.
My mother taught me my first bhajan. My mother, Shobha Nigam, was a very religious woman. From her only I learnt 'Om Jai Jagdish' song and used to do puja along with her.
Some bands sound like one song the whole album through. We've been all over the place because we are punk, hardcore, rock n' roll, metal, reggae - and I think sometimes it might be too much diversity, and kids are lost.
For dramas, I've become more careful because now there are specific works that you think of when you hear the name Song Hye-kyo.
Song Joong-ki is known for his sincerity and manners. He is younger than me, but I thought I learned many things from him.
Every song is a long process. First I have to write a story for it, and then to make it into a song, I have to make it short and then shorter - so it's not easy!
I have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.
I sometimes try to write something that is actually really simple and I can't do it. So, then, it's not simple anymore. It's really hard and it gets all messed up. I sometimes sit down and try to write a song with just three chords and it doesn't work.
I've always been jealous of rappers, because they can fit so many words into a song and tell a story with lots of details. But when you're a songwriter, you have to fit the words to the melody and you can't fit as much in. I'm just a big fan of storytelling.
Anytime someone basically commissions a piece, I write a song based on something personal to them. I go online and I do research on that person - Wikipedia, YouTube interviews, anywhere I can find a piece of information that kind of tugs at your heart a little bit.
There's this one song called 'Final Warning' that I'm really excited about because I love the contrast of my vocal sounding very soothing and my harsh lyrics.
I never really focus on writing for other people, to be honest. Every song I've ever written was for me to sing. Maybe if I'm writing for a rapper, but I'd still write it as though it was for myself and then sometimes I'm actually asked to do the part.
That song is a story that shows how easily you could get slipped into being labeled as the bad guy, even though what you really trying to do is tell the bad guy to leave you alone.
Sometimes I want to yell on this track; I want to yell the whole song, and I don't think nothing's wrong with that, but the older generation feel like you can't.
The song that's mostly changing my career or made the biggest impact on my career would be 'Catch Me Outside.' Mainly because it hit YouTube, and that was, like, my first-ever video, so people never really seen what I looked like or knew exactly what I was about, so that was, like, the first taste of what they got.
I have a song called 'Young Voorhees,' because I like to call myself the new Jason Voorhees, and it samples 'Courage the Cowardly Dog.'
'Faucet Failure' was my favorite because I just had fun with it, and it was just 10 minutes, and I didn't overthink anything, and I wanted to just have fun with the song.
There's a lot of rage... you have to express it somehow. If I didn't express it in song, I'd become incredibly violent.
That was the coolest thing about 'Baby Got Back.' The establishment didn't embrace the song, which is what kept me from being the next pop guy to fizzle out and get laughed at, get dissed on TV. That helped save me. The fact that MTV banned the record made the record, in a weird way.
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