Song Quotes
Most Famous Song Quotes of All Time!
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There's just something so amazing about being anywhere, and some music starts playing, and you just hold up your phone and can find out what it is. You never again have to say, 'That's a great song! Who is it by?'
I remember seeing the song in some diners on the selection gadget that plays records at the table while you were eating. We were never told if the songs ever got on any charts.
I think my most famous was 'Poco's Legend.' It's a white album with a simple line drawing of a horse. It almost has a Picasso feel to it. I remember that Rusty Young, the lead singer of the band, said, 'I want you to draw a horse for the song 'Legend,' which is about a phantom spirit horse. I want you to do it in several lines.'
The big thing that everyone forgets, you're famous and on TV and everything, but I think there's something very rewarding to be able to write a song, record it, and have it turn out as you heard it in your head, or even better.
The Beach Boys were my favorite. I use to listen to their hits over and over, especially 'In My Room' and 'Don't Worry Baby.' There's something really sad about 'Don't Worry Baby.' Even though it's just a California song about racing cars, the melody is really sad. There's melancholy in it.
Even when I was calling myself the Microphones I only really ever played new songs... because I feel, like, a pretty strong connection to the song when I'm performing it.
It would be amazing to write a song that could be sung 100 years from now by a teenage girl and still be relevant to her - that's a dream of songwriting, maybe.
There are a lot of names on the credits of 'The Glow Pt. 2,' but most of those people are just on one half of one song or something.
I guess I've never been introduced properly to Pink Floyd. I know they're great, don't get me wrong. Excellent, excellent musicians; great band; awesome harmony; great song writers; I just don't know anything besides, I guess, the popular songs on the radio.
The lead guitar work is a bit repetitious, but when a song is under two minutes long, I don't have much room anyway. Thank goodness. But I've always contributed guitar parts to every band I've ever been in, so I'll always play the axe.
The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.
In some ways, I've always approached singing as acting, and the voice is just like a way of carrying the song.
Me is what them call illegitimate, that mean say me is a criminal, bomba rassclaat! That's why me go write a song called 'Illegitimate Children.' It took me years to find out I was one.
The independent role of morphology in mate choice is revealed by the rare instances where the usual association between song and morphology is disrupted.
To summarize, the particular song a male sings, and the behavioral responses of females to song and morphological signals, are not genetically inherited in a fixed manner but are determined by learning early in life.
The divergence of songs in the new population away from those in the progenitor population would only be prevented if these processes were balanced by repeated immigration and subsequent breeding: song flow.
I continue to believe, contrary to the given wisdom, that it's more interesting to have an album - or, indeed, an individual song - which has variety rather than homogeneity.
I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.
I think that you get the mood of a song stronger if you get it right that way. On the other hand, you put some songs out live and they don't catch flight. They just flop. It is hard to tell until they are out there.
In an attempt to amuse my friends and family, I would do impressions of Dean Martin, singing Everybody Loves Somebody. I secretly really enjoyed singing the song.
In so far as I have any beliefs, I suppose I'm like that old Peggy Lee song, 'Is That All There Is?' I want to believe there's something else going on, but what that something else is I don't pretend to know.
If I've got a talent, it's for picking the right song at the right time for the right audience. And I can always get people to sing with me.
I keep reminding people that an editorial in rhyme is not a song. A good song makes you laugh, it makes you cry, it makes you think.
I try to sing many different kinds of songs. If I sing a batch of humorous songs, I'll throw in a deadly serious song. Or if I'm singing too many serious songs, I'll throw in a ridiculous song, to mix it up.
Most of my songs are about Jesus. Most of my songs are about the idea that there is salvation, and that there is a Savior. But I won't mention his name in a song just to get a cheap play.
A lot of writing I do on tour. I do a lot on airplanes. At home, I write a lot, obviously. When I write a song, what I usually do is work the lyric out first from some basic idea that I had, and then I get an acoustic guitar and I sit by the tape recorder and I try to bang it out as it comes.
I don't ask for the meaning of the song of a bird or the rising of the sun on a misty morning. There they are, and they are beautiful.
We'll be in our 60s performing 'Push It' somewhere. Good old 'Push It.' I don't know what it is about that song.
Music has changed. You can just throw songs out on iTunes song by song; you don't have to do a whole album.
Coming from a little suburban town, I wasn't a hip city kid. I was quite the opposite, really. Songs like 'Saturday's Kids' rang a bell for kids all over the country. That song was about the kids I grew up with.
I'm not big on rap, to be honest. I just don't get it. It's angry people shouting. I like a song, melodies, people singing.
The hack songwriter will write the absolute truth every single word, whether it makes a great song or not.
It's like, it's up to the people to fall in love with the song. The record company can only do so much.
Although, my experience when I've been depressed, not only am I too depressed to sit down and write a song, I'm too depressed to pick up my feet. So if you can at least write about it, you're halfway away from it.
Not every song I write is ecstasy. And it can happen only one time. After that, when you sing the same melody and words, it's pleasure, but you don't get wiped out.
I think Bridge Over Troubled Water was a very good song. Artie sang it beautifully. The Boxer was a really nice record. But I don't think I've written any great songs.
I like to do cover songs if I really love them, I have to love the song first.
You've got to be a really straight man to write a song like 'It's Raining Men.'
Much responsibility rests upon the shoulders of the song leader; it is not infrequently within his power to make or break a meeting.
Your average pop song or film is a very sophisticated item, with very sophisticated ways of listening and viewing that we have not really consciously developed over the years - because we were having such a good time.
I'm about to start working with a singer I met on my last trip: she'll get international exposure, and I'll have a song out in that market sung in Cantonese.
I used to think that all my Wings stuff was second-rate stuff, but I began to meet younger kids, not kids from my Beatle generation, who would say, We really love this song.
I had this song called Helter Skelter, which is just a ridiculous song. So we did it like that, 'cuz I like noise.
I think I always had a musicality, and I think I could tell a good song from a bad song. And I would appreciate hearing something that was new to me.
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
One of my biggest thrills for me still is sitting down with a guitar or a piano and just out of nowhere trying to make a song happen.
If my life were a song, what would it be? 'A Never Ending Road of Musical Good Times'.
I always tell young film-makers, 'Find the song that only you can sing.' It doesn't just come to you. It's trial and error and disappointment before you find, slowly but surely, the confidence to express your film-making identity.
The first song on my first album is not a song - it's a guitar solo! It's called 'Frenzy,' and it's pretty much nonstop maniacal guitar playing. I had just turned 19, and I had some serious muscle then.
I was driving home and thinking about what rock and roll should be about. 'Adventure and Trouble!' I thought. I sang the song first and then added the chords later.
I remember walking into a department store and you would hear an instrumental version of a Beatles song and it was usually kinda cheesy and very un-rock. Kenny G, for example, is a musician that I certainly dont want to sound like, but technically he is flawless but somehow the rock and roll aspect has been sucked out of it.
Recently, I had some powerful magnets glued into the lower horn of a few of my guitars. This holds a metal slide in place so I can easily get to it and put it back, even in the middle of a song.
I'm Not Afraid of the Police' is the first song I wrote and recorded since moving back to Los Angeles. It's a loud-pop, crazy-guitar, big-harmony song with all the police sirens created by guitars and ADA flangers.
A Herd of Turtles' is the only song on 'Behold Electric Guitar' that is not strictly instrumental. But instead of singing, I am reciting a poem. My poem is about overcoming challenges.
Pop music has greater power to change people and to affect people because it's a universal language. You don't have to understand music to understand the power of a pop song.
Creativity, for a lot of young people, is a coping mechanism. It's the only place they feel comfortable. It's the only time they feel like they're being heard or can make a difference, is if they can go into a room and do a drawing or go to a garage and play a song or retreat to this world.
I love Miranda Lambert; I think she's wonderful. I love the song 'Love Letters' and 'Famous in a Small Town.'
I may not be able to re-record a song, but I can do a better job each time I sing it.
I'd love to have a Christmas classic under my belt. It's hard to write a Christmas song.
I wrote 'She's a Lady' on the back of a TWA menu, flying back from London after doing Tom Jones's TV show. Jones's manager wanted me to write him a song. If I have an idea and I don't have a pad of paper, I'll write on whatever is available. What's the difference? Paper is paper.
Taylor Swift dates guys so she can write a breakup song about them. I don't think she's dating for love - I think she's dating for creativity. So let's get her off the market and put her in dating detox. If she really wants love, she has to stop writing music about them.
Often I have to move my body in a certain way, like exercising, to begin to get into the right rhythm for writing a song.
I think there are times when a song can be a spiritual experience - just making music, in general, is pretty much that.
I don't actually have to think very hard when I'm writing. I mean, there are times where it's a task, and you have to plug away and plug away. But then there are times when a song writes itself in 15 minutes, and you're just struggling to keep up with it.
I recorded a song called, I Fall to Pieces, and I was in a car wreck. Now I'm worried because I have a brand-new record, and it's called Crazy!
I have gotten more than I asked for. All that I ever wanted was to hear my voice on record and have a song among the Top 20.
The song that's affected me the most profoundly is probably Michael Jackson's 'Thriller,' or, more specifically, the couple seconds of instrumental break before Vincent Price starts 'rapping.'
'As Long As I Know I'm Getting Paid' is a satire. Lyrically, I want to be direct. With my history in Fall Out Boy, there's some expectation that I'm going to be lyrically obtuse. But that song is a straight-faced satire of consumerism.
Wine and women do not go with song. Alcohol is the worst enemy of the imagination.
When no one's buying your records, it's easy to justify selling a song. But once you start selling records, you can't really justify having two songs in Cadillac commercials. It looks greedy. And it is greedy. This whole music thing should be about music.
I came down to Orange because I sold the Smothers Brothers a song called 'Chocolate,' and that gave me enough money to move down here. I was washing windows down in Orange County when they called me up and said they wanted me to do their TV show.
If you can write a catchy melody and a song that captures people around the world, what better thing to do? Other than 'Let Her Go,' I haven't managed to do that. And that's fine by me.
When I wrote 'Let Her Go,' it's not like I was doing anything different. I was just writing a song as I would any other day of the year; it just so happened that this one resonated with people.
For me, it's always just about playing the song and recording it and giving it what it needs as a song.
Some songs take months to get right, but 'Let Her Go' was so easy. I was no more pleased with it than any other song I'd written.
Not all lies are harmful. Sometimes we're willing participants in deception for the sake of social dignity, maybe to keep a secret that should be kept secret, secret. We say, 'Nice song.' 'Honey, you don't look fat in that, no.'
I get plenty of, 'Is that song about me?' from men but I just tell them to get over themselves.
'Aura' is a song where you're looking at yourself in the mirror, and I was personally impacted when I recorded it. I identified with it.
With songs I almost see the images, see the action, and then all I have to do is describe it. It's almost like watching a scene from a film, and that's what I go about trying to catch in a song.
I think I'm a songwriter. I grab an instrument to make my body a song, but I'm not a player as such, maybe a little more on guitar, but certainly not piano.
Grief is like wandering through a minefield, as my mother puts it: however carefully you tread, a sudden detonation can happen out of nowhere. A song played in a supermarket; an overheard phrase; someone in the distance who your mind cruelly suggests is your loved one for a fleeting moment.
If you want to be a singer, you've got to concentrate on it twenty-four hours a day. You can't be a well driller, too. You've got to concentrate on the business of entertaining and writing songs. Always think different from the next person. Don't ever do a song as you heard somebody else do it.
A bell's not a bell 'til you ring it, A song's not a song 'til you sing it, Love in your heart wasn't put there to stay, Love isn't love 'til you give it away!
I realize that I've had Ian Van Dahl: 'Castles in the Sky,' the Ibiza jam, periodically stuck in my head for years, like years of my life. Every now and then 'Castles in the Sky' will just happen. Maybe that's some sort of indication that it's actually my favorite song of all time.
I have a hard time making a linear-idea song, because that's not the way my thoughts work.
If you asked me to sing a modern song, I wouldn't be able to - I can't easily slip into that groove. But if it were a song by Nico or The Velvet Underground, fine.
A great guitar solo is really a song within a song. You can always go off and do your pageantry, but it has to be structured.
Being promoted as a bubble-gum type artist that has one hit and it's all over is not something I want to do. I want a long career. I want to continue to play guitar and have as much guitar in there as possible in a commercial song without being too indulgent.
You want a solo to be structured, a song within a song, but you want it to sound like it's the first time you're playing it, too.
I know that there are going to be people that don't like my music, but I think in the industry itself it is always that, 'Oh. you're from the 'X Factor.' There have been certain radio stations that will not play your song because you are from the 'X Factor,' yet they'll play another song from an artist from another TV show.
I don't think Flo Rida gets on just any song. If you look at the songs he has done - even The Saturdays one - was a hit. If it's not good enough, then he won't do it.
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