Best 8933 quotes in «song quotes» category

In reggae I have a model of artistic excellence and possibility that is challenging and inspiring. The poem remains a demanding thing - an object to be understood and shaped into my own sense of self, the same is true of the play, the novel, the short story. Yet, for some reason, I approach these existing genres with the kind of confidence that the reggae artist approaches any song floating around out there.

In Shanghai, I saw great contrasts. On one street there would be impressive shops selling copies of the latest word in glamorous European fashion, and around the corner on a back street there were poor families crammed into one room with a naked light bulb. One evening I heard a Chinese family singing "Happy Birthday." It was weird. You would have thought that they'd have their own happy birthday song. Every dominant society in the world - whether it's French or British or American - imposes its culture on less developed societies.

In some ways, when you re-envision a song like that ["Never Be Mine"], there's a completely different energy to it each night.

In some ways, I've always approached singing as acting, and the voice is just like a way of carrying the song.

In so many of my songs, I'm trying to touch on various aspects of love.

In so many musicals today, the story is moved forward by a song. I don't think we're gonna try to do that.

In some of the best worship songs we bring our praises to God - yet at the same time also end up preaching to ourselves.

In song and dance, man forgets how to walk and speak and is on the way into flying into the air, dancing... his very gestures express enchantment.

Inspiration comes unawares, from unaccountable sources that have nothing to do with planning or intelligence. Let it cool ever so slightly, and you are left, pen or brush in hand, with no inspiration at all. Gifted people need not, therefore, make a song and dance about being or supposing themselves superior. They simply happened to be born with that fortunate, subconscious equipment of theirs, and the mystery exists independently of intelligence or ambition.

Inspiration is enough to give expression to the tone in singing, especially when the song is without words.

Inspiration and stealing are two completely different things. If somebody wants to make a song like "Stairway to Heaven" and writes a song on acoustic guitar, Led Zeppelin does not own every song that's on acoustic guitar for the rest of time.

In spring more mortal singers than belong To any one place cover us with song. Thrush, bluebird, blackbird, sparrow, and robin throng.

Instead of singing in the shower, I would write out the lyrics of my favourite songs, the ink would turn the water blue or red or green, and the music would run down my legs.

Instead of speaking about Real Madrid, Mr Wenger should speak about Arsenal and explain how he lost 2-0 against a team in the Champions League for the first time [Braga]. The history about the young kids is getting old now. Sagna, Clichy, Walcott, Fabregas, Song, Nasri, Van Persie, Arshavin are not kids. They are all top players.

Instead of writing songs for girls, I tend to write albums, which I guess is a bit weird.

Instead of feeling like there's two or three of us in this town of hostile crackers, I'm in a big church filled with people who believe the same thing I believe and the power of song is raising what we're trying to do, raising it up to the rafters.

Instead of slashing my wrists, I just write a bunch of really crummy songs.

Instead of the 1997 film directed, written, by James Cameron with Leonardo DiCaprio, Kate Winslet, Billy Zane creating a love story and a large diamond with a beautiful song “My Heart Will Go On” sung by Celine Dion. What about the real love story that took place that night between the passengers themselves, and many crew members knowing they would also give their lives. Adding another meaning for “SOS” Service, Obedience, and Sacrifice.

Instinct taught me 20 years ago to pace a song or a concert performance. That translates into pacing a story, pleasing a reading audience.

In summer, the song sings itself.

Interestingly, songs used to be short, then they became longer, and now they're getting shorter.

In terms of love, you're not in control and I hate that feeling. I seem to write a lot of sad songs because I'm a very tragic person. But there's always an element of humour at the end.

In terms of songwriting I think it might be a circular thing. I tend to go back and forth between quieter melancholy songs and more forceful, less traditional structures. I think when I find myself leaning too far in one direction I kind of rebel against it and pull the other way.

In terms of love and romance, it just seems less and less like that's ever going to happen again, or be a possibility for me. I feel like I've irrevocably lost so much. You want the surprise, but it gets harder and harder to find, whether we're talking about romance, or somebody else's song, or your own song.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

In the ’60s, when I was growing up, one of the great elements of American culture was the protest song. There were songs about the civil rights movement, the women’s rights movement, the antiwar movement. It wasn’t just Bob Dylan, it was everybody at the time.

In the beginning we were creating our music, ourselves, every night . . . starting with a few outlines, maybe a few words for a song. Sometimes we worked out in Venice, looking at the surf. We were together a lot and it was good times for all of us. Acid, sun, friends, the ocean, and poetry and music.

In the Air Force, I had an old Wilcox Gay recorder, and I used to hear guitar runs on that recorder going (vocalizing) like the chords on "I Walk The Line." And I always wanted to write a love song using that theme, that tune.

In the beginning, there was a kind of energy that - like an urgency to express myself, and the songs just couldn't be held in. But I think it changes, the nature of how that - what that energy is. And I need to court the muse in a much more serious way.

In the course of my life, I've made some happy songs but it's the more sort of like pathos-laden, emotional, melancholic music that either I make or that other people make that really resonates with me.

In the clearing stands the boxer, and a fighter by his trade. And he carries a reminder of every glove that laid him down... or cut him till he cried out in his anger and his shame "I am leaving! I am leaving" but the fighter still remains.

In the depth of my soul there is a wordless song.

In the depth of my soul there is A wordless song - a song that lives In the seed of my heart. It refuses to melt with ink on Parchment; it engulfs my affection In a transparent cloak and flows, But not upon my lips.

In the early '80s, I was blown away when I began to hear some of the earliest hip-hop songs, and I'm fascinated by all the permutations the genre has gone through.

In the end, I wonder if the true movement of the world might not be a voice raised in song.

In the end, I get a really good song, and in the end, I get the hits. Yeah, I'm that good.

In the early days, I had very little idea about arrangements, and I wrote songs a little flat, as it were, just on an acoustic guitar. They didn't really have quite enough nuance.

In the early days, Porter Wagoner would not exactly scold me, but he's say, 'You're writing too many damn verses. You're makin' these songs too damn long.' And I'd say, 'Yeah, but I'm tellin' a story. I have a story to tell.' And he'd say, 'Well, you're not going to get it on the radio.' If I start writing a song, I'm writing it for a reason. People would say that I had to have two verses, and a chorus, and a bridge. I tried to learn that formula.

In the enemy's territory, be as silent as the owl's wings; in friend's territory, be as cheerful as the nightingale's songs.

In the end, when you're writing a really good song, it strikes the right tone.

In the garden of tabloid delight, there is always a clean towel and another song.

In the great orchestra we call life, you have an instrument and a song, and you owe it to God to play them both sublimely.

In the future, women will have breasts all over. In the future, it will be a relief to find a place without culture. In the future, plates of food will have names and titles. In the future, we will all drive standing up. In the future, love will be taught on television and by listening to pop songs.

In their heyday, the Pet Shop Boys were the Interpol of the Eighties, dressing up to sing really weird pop songs about lust and loneliness in the big city. They're low-pro now, not retro-worshipped in the manner of Depeche Mode, New Order, or The Cure, but you can hear the reason why - these guys are too sad.

in the last month or so, i have read the great gatsby and a separate peace. i am starting to see a real trend in the kind of books bill gives me to read. and just like the tape of songs, it is amazing to hold each of them in the palm of my hand. they are all my favorites. all of them.

In the meantime [1963-65], [Bob] Dylan was writing some of the best love songs in the genre, like "Girl From the North Country," "Don't Think Twice, It's Alright," and "It Ain't Me, Babe.

In the laboratory, we call this the six-degrees-of-separation-from-cancer rule: you can ask any biological question, no matter how seemingly distant-what makes the heart fail, or why worms age, or even how birds learn songs-and you will end up, in fewer than six genetic steps, connecting with a proto-oncogene or tumor suppressor.

In the largest sense, every work of art is protest... A lullaby is a propaganda song and any three-year-old knows it... A hymn is a controversial song - sing one in the wrong church: you'll find out...

In the meantime [1965-67], [Bob] Dylan was again writing some of the best love songs in the genre, like "Visions of Johanna," "Just Like a Woman," and "Sad-Eyed Lady of the Lowlands.

In the modern operas that 'Miss Saigon' and 'Les Miz' are, nobody breaks out into song from conventional book dialogue. Everything is sung from beginning to end, including the recitative.