Song Quotes
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When I start working on a batch of tunes - like roughly 10 solid tunes - I always know there'll be another 10 to follow, because for every song I invest a lot of time in, there's another song waiting behind it.
To make a song is a gift, and once it's done it keeps evolving and changing and becomes a tool to interact with other people. It's like a conversation.
When I got my first email from a record label, I decided I didn't want to go in with just one song, so I sat down and kept on writing.
I went down to my keyboard and was playing random chords, and the one line I kept repeating was, 'I'm a lost boy from Neverland.' I decided to post it to Vine, and it got the biggest reaction I'd ever gotten. People wanted to hear more, and I had to explain it wasn't a song.
I think 'Lost Boy' is more of a metaphor for oneself. When I listen to that song, I don't picture someone else. I kind of wrote it from a very honest place.
A song is a short composition for voice and instruments. It is a piece of sung poetry set to music. It is usually only a few minutes long.
When I made 'What They Want,' I was going crazy. When I made 'Losin Control,' I was going crazy, when I made all the songs that are on my Soundcloud, every time I was out, I went crazy, like it was still the first song that I made.
When you're sitting in the basement trying to get on, you have no choice - you've gotta figure out how to make a song: 'I've gotta bang on these buttons until it sounds good.'
From the engineer to the producer, all of these roles are critical to creating a song.
There's not another lip-synch song on the planet, in the history of lip-synching songs, that has been lip-synched more than 'I Will Survive.'
We of the soft-crooning radio type of singer are giving the people what they want. The American public as a whole does not care for full-throated operatic singing. And why should it? Down through the ages, it has been the simple song which has lived and continues to touch the heart of humanity. And so it is with singing.
Sweet as sweetest Grecian honey will my song be when I sing, O Beloved, in the season of the Spring!
Even though we didn't actually record it as the Move I had already written a song called 'Dear Elaine', which I subsequently put on the Boulders album. I thought at the time that was probably the best song I'd written.
Unfortunately, most of the songs that I write I don't write them with guitar in mind. I just write it as a song and that was probably one of the ones that left an opening for it. The song's all right, I wouldn't choose to sing it now.
To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.
I've always been a bit of a Jekyll and Hyde. I always feel that you should keep singles as commercial as possible so that the people can walk down the road and whistle a song. But on the other hand on albums I think you can afford to show people what you can do.
Every song has a bouquet, which is the music. If you can put words with something that is really apt, then you've done it.
Artists don't always know. Almost every song I ever recorded that was a hit at the majors that the promotional people picked I didn't think it would be a hit. I was wrong every time!
Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.
Whatever you are making, whether it's a song, an album, a painting, a film, you're connecting with a tradition, and I do feel connected to New York music.
I sing a little bit in videos, at the end of vlogs. A lot of my fans started requesting that I do a song. They started planting this seed in me.
When I get all focused on songwriting, I get into all the marketing and promotion that we do to make it happen. Then the right song comes along and blows it all out of the water. The right song will do it for you every time.
I spent ninety percent of my money on wine, women and song and just wasted the other ten percent.
I learned when I started to study piano that I could play by ear. I could hear a song on the radio a couple of times and hear the song and the lyrics and sing it for you after a couple of plays.
I love the 'Delilah' show. I've been listening to it for years and years. It's incredible. She's always got a song for the right occasion. Many people call in, maybe their spirit it a little down, and she lifts them up. She is really somebody special. She's a lifeline to a lot of people.
If Madison Avenue advertising executives were to pick a song that would best represent America, the last one they would choose is 'The Star Spangled Banner.'
A song about post-teenage angst like 'Mad World' seems to be permanently relevant.
'Take Her Up to Monto' is a very satirical song. I don't really like people calling it a folk song because it kind of isn't. It's a bit cheeky calling it 'Take Her Up to Monto,' but the whole idea was to be very irreverent.
'We Will Rock You' we didn't think was a single. We almost saw it like an introduction to 'We Are the Champions,' which is a more classic, very grand song.
Sometimes, the better writing comes when the song speaks through me and tells me what the song wants to say.
When I write a song with somebody else in mind, it's putting the cart before the horse. The way I write best is when I allow the song to tell me what it wants to be.
'Honey' was the first song I wrote where I was really enjoying myself again after questioning the idea of being an artist.
People are quite shocked when you remind them that Elvis Presley and Frank Sinatra never wrote a song that they recorded in their lives, as far as I know.
I'm not full of malice, but I do dislike Neil Diamond a lot, and I'm sorry that I've done a Neil Diamond song.
His life, though none too long, Was never dull: Of woman, wine and song Bill had his full.
That's all I ever do, just try and do the best I can and cater to the song, cater to the music.
Like I can't cry for myself so I will let this song take all of the things inside I can't let anyone else see and offer it up, as if the sound were some kind of god, and my pain is some kind of sacrifice.
I make up cassettes all the time - to take on the road with me - a song from this album, a song from that album. That's the way I listen to music; it's like one of those K Tel things: it's from all over. I listen to Fred Astaire, I listen to African folk music, I listen to Talking Heads.
I am never excited to play through a song all the way, because it can reveal more flaws that mean more work. For some reason, I always have an irrational fear that the song will never be finished.
It's so important, after a song is finished, to go to sleep and listen to the song with fresh ears the next day. It's sometimes a traumatic event. And playing it for someone else for the first time - that is the most nerve-wracking thing of all. But we learn so much.
This is one of my lesser moments, and one I'm not proud to admit to, but there's always a time I feel the need to have control over the process and try to defend the song from the person I'm writing with. It never, ever helps and always causes problems.
In whatever form it takes, life sings because it has a song. The meaning is in the lyrics.
A song doesn't happen as a whole verse; it happens linearly, line by line, almost word by word, phrase by phrase. And if each phrase, each line, has a proper emotional feel and connects to the line before it and the line after it, the song will be doing what it should be doing.
If you can even manage to tell exactly what a song is about, all you do is put that song in a box forever, and it loses its evocative power.
I walk away from writing what I consider to be a good song - with a good character, a good story in it - with all I'm gonna really get out of that song. My greatest pleasure is to create it, not to record it, not to hear anyone else play it, though that can be nice too.
With the Internet today, it is possible to do some mixed media things where you can write about an artist and link to a song or video by that artist. But that was unheard of in the years I was at the paper.
Artists frequently argue that videos trivialize a song and that touring for months at a time works against the creative process, not to mention maintaining a normal lifestyle. Doing something about these complaints, however, is rare because promotional videos and touring are considered essential elements in building multimillion-unit album sales.
Everybody has a favorite song, but everybody don't have a favorite painting.
I feel like, paying homage to an artist, it's better to do something that's inspired by them - a new work that's inspired by them - versus another person saying they redid your song.
When you sing a song the way I sing it, you have to use your whole body. It's almost like working out.
Chuck Berry's 'Maybellene' hit the airwaves at about the time Alan Freed got to New York, and it was definitely a song I really loved and related to.
That's the wise thrush; he sings each song twice over, lest you should think he never could recapture the first fine careless rapture!
I grew up in a household that had its roots in church and community and culture and poetry and song and in the arts. Those aspects certainly shaped what I do.
When I play with my band around the U.S.A., the most requested song is 'Peace Frog.'
I was a storyteller for The Band. It was never, 'Hey guys, here's a song about what happened to me.' I was always more comfortable writing fiction.
Every moment of my life has a soundtrack, so I never know when some song is going to jump me by surprise and bring the memory alive.
Thanks to the greatest invention of recent years, the MP3-playing alarm clock, I can now choose the song that wakes me up in the morning.
At the end of a song, someone's always different than they are at the beginning.
I think I've got to go back to 'Someone to Watch Over Me.' I think it's a perfectly written song. I really do. I think it's one of the great songs in the American Songbook, and it speaks to love in its simplest and purest form.
It's best to keep things as free and open as you can. It's good to have a template, but then you go back and dissect it and see where you can make improvements. That's pretty much been the case with every Priest song that's ever been written.
When you have the thrill and the pleasure to do something that means so much, you'll do whatever you've gotta do to get to that next gig and play that next song.
Came from a song that I made from, like, 2012 - there was some phrase like 'Rap Monster', and I just, I thought it was so cool. But as I grow up, and as I came to America, I think it felt like too much. So I just abbreviated it to 'RM', and it could symbolize many things. It could have more spectrums to it.
My first song was called 'Portrait.' It would just be poetry, and I really never understood how to write the structure of writing a song. I just knew the feeling, and I knew it was supposed to break and change at the same part, so that's how I write music.
I don't try to worry about sounding like anybody because I know I have my own tone, my own sound. It's just about being honest in a song and trying to relate myself or how to basically break it down as simple as possible for someone to try to understand it. Not being too deep, not being too shallow at the same time.
If you can keep something very personal, like a song, like a color, like a story, deep in your heart, then nobody can destroy that. Nobody can destroy your imagination; nobody can destroy your love.
It's so important to me that I feel like I'm doing something that's never been done before, whether that's in the show, or I'm writing a song. I can exist in this little box here, but I have to do something new with it.
When I sang that song, I felt it was almost as if some force had moved into my body. Things like that have only happened to me singing jazz. It doesn't happen when singing pop. I get so deeply into the music, it feels like I've become someone else.
I was kind of known as a ballad singer. People would send ballads. Some of them would go over my shoulder and float off the top of my head, and I just didn't feel anything. Then I would hear a song that would absolutely shake me.
'Roc The Life' is a song I wrote with The Dream, who made 'Umbrella,' 'Single Ladies' and loads more.
I might have lost an acquaintance because of 'Pregnant Women Are Smug.' But we weren't close. Actually, I don't know if the woman knows the song is about her. I have a feeling she might.
It's a song that we sing after we win a Test match. We sing it after every one-day series win. It's been passed down through the generations. It's the culture of the Australian team.
I always had a standard of, back when I was doing the country music I always told people I would never record a song that I wouldn't sit down and sing in front of my mom and dad.
It's a gift that I have and I became good at it. When I heard my first song I didn't even know that I could write songs.
It's just a lot of fun to be able to see your ideas come into fruition. And to see people translate the things that come out of my mind vocally. And to be able to produce vocals and give people my point of view musically. And to be able to sit in the crowd and see people sing the song that I wrote, it's an amazing feeling.
We worked very hard to make the lyrics suit the music. I can't, like Elton John, for example, compose by lyrics. Elton has a great talent for that. Whatever you give him, including your questions, he composes in half an hour and makes a great song out of it.
Every band wants to be have a song that is that big, that will pretty much live on forever. I don't know too many new bands that will have a 'Free Bird' that will be around 30 years later. It's become a national anthem of sorts.
There are only seven chords, and I believe every song has already been written.
There's just a natural human element to a great song that feels immediately satisfying. I like the song to create a mood.
The whole point of me doing a Christmas record and what I centered it around was the song 'Christmas with You' from the point-of-view of the soldiers in Iraq.
There's a song called 'Live Blogging the Himmel Family Bris.' I kind of went for it here in terms of - it was really fun to be explaining ritual circumcision in Nashville - a lot of brises are done in hospitals, but many are done in people's homes, and there's a lot of food, and a lot of leftovers.
We all record together. We do it live; then, after that, we do overdubs, if we need to, to repair stuff. Usually when we do stuff, we have to make sure we get the bass and drums down, and by doing it live, you're actually playing the song. You're not piecing together a song.
You put a song on the record or on tape and you stop singing it. You just don't sit around and sing it anymore unless you're performing. That's kind of sad.
I try to look at most of my solos as a musical piece within the song, not, say, showing off.
Songwriting is something that's very daunting until you have your first successful song, I think.
I was the lead singer in a lot of the bands I was in. You have to be comfortable. You gotta get up there and sell the song. You have to get up there and sell the lyric. You gotta be able to feel it.
As a musician and a guitar player, I can noodle as well as anybody. But from my background as a session musician, I always try to play what is called for by the lyric and listening to the song. As a writer, that's what I do, too.
Signing up to be an organ donor should be at least as easy as downloading a song to your iPhone.
As the writer, you're always a presence in the song. If you get close to what human beings are like, you're writing about common experience. We all do much the same things, so if you nail somebody, then you've also nailed yourself.
Whenever I get an idea for a song, even before jotting down the notes, I can hear it in the orchestra, I can smell it in the scenery, I can see the kind of actor who will sing it, and I am aware of an audience listening to it.
A song is a lot of things. But, first of all, a song is the voice of its time. Setting words to music gives them weight, makes then somehow easier to say, and it helps them to be remembered.
There's nothing stupider than bursting into song for seven seconds and then falling silent again.
As a songwriter, there's nothing better than winning Song Of The Year. But I couldn't really celebrate, because it wasn't right. Luther wasn't standing next to me, to receive the award.
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