Best 8933 quotes in «song quotes» category

To evade such temptations is the first duty of the poet. For as the ear is the antechamber to the soul, poetry can adulterate and destroy more surely then lust or gunpowder. The poet's, then, is the highest office of all. His words reach where others fall short. A silly song of Shakespeare's has done more for the poor and the wicked than all the preachers and philanthropists in the world.

To get 300 songs to fit together on an album, it's not like I choose 300 songs and say these are the ones I wanted to pick. To get those 300 songs I sampled 1000's of songs and narrowed down the ones I felt worked the best musically.

To feel strong, to walk amongst humans with a tremendous feeling of confidence and superiority is not at all wrong. The sense of superiority in bodily strength is borne out by the long history of mankind paying homage in folklore, song and poetry to strong men

To get large groups of people to dance, there needs to be something accessible about the music. The beat can't be too esoteric, but unless we're talking about prog or etherealist composition, I think there's something simplistic about most music. What's completely insane to me is that people would consider music that's simple to be dumbed-down. Couldn't simplicity be a deliberate, smart choice? Those people aren't really listening; they're judging a song off of a beat, off of a pulse.

To learn a belief without the belief is to sing a song without the tune.

To just write one song to then go and play huge festivals all around the world it's exciting and it's never really been the case.

To kill the misconception, I don’t think the songs we wrote before ‘Danger Days’ are bad songs by any means. In fact, I kinda think some of them are among my favorites we have ever written. A lot of them are kinda f—ing rad… they just so happened to have been created in the wrong place, at the wrong time, and we as their parents were not ready to raise them just yet… and so they sat and waited.

To know how to suggest is the great art of teaching. To attain it we must be able to guess what will interest; we must learn to read the childish soul as we might a piece of music. Then, by simply changing the key, we keep up the attraction and vary the song.

To lose somebody is to lose not only their person but all those modes and manifestations into which their person has flowed outwards; so that in losing a beloved one may find so many things, pictures, poems, melodies, places lost too: Dante, Avignon, a song of Shakespeare's, the Cornish sea.

To look for some kind of insight or meaning in pop songs is not really - well there's plenty of other places where you should probably look first before you start looking for it in a pop song.

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.

To me, ballads are special, because you can have a pop song that’ll be know for three weeks and then you’ll hear nothing else about it. Nobody else will record it and it’ll just be gone. But if you do a good ballad, it’ll be in the world forever.

To me, a political song is also a personal song. Most political activism has been driven by empathy for other people and the desire for a world that's less divisive. Even if songs aren't overtly political, they can make a listener more empathetic.

To me, a critic is someone who gets paid for their opinion, and they're entitled to that opinion but I don't really put a lot of stock into their opinion. I'm going to cut the kind of records and the kind of songs that I like, and the kind of things that I enjoy doing. If critics dig it, that's fine, if they don't, that's fine.

To me, every episode is like a song, and every season is like an album. There's that part of the day when you first get the idea and you say, "This could be really funny." And you sit down and you write it. There's just something that happens there that doesn't happen when you really give it a lot of time beforehand.

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.

To me, it's all about the song. Songs are what make me excited. You hear a great song and you want to record it or get a great idea and you want to write it.

To me, it makes more sense to write different songs and to play different kinds of music and to find your own voice. But no matter what, get out and play for people. Get out and learn, and do everything that you can, you know?

To me, the idea of a weatherman is really powerful. There's a guy on television or on the radio telling us the future, and nobody cares. It's this daily mundane miracle, and I think the songs I chose are about noticing the beauty in normal, everyday life.

To me, music shouldn't be ego-driven. When you go out on stage and play songs, it is. But when you're sitting in a room, writing songs, it's a completely different process. It's a completely different place. It's a creative place, a musical place. It has nothing to do with who likes what.

To me, the message of my songs, of all songs, is "enjoy life." My message as a person who evidently doens't have much more planned is the same. It's the only message I ever thought art had any business having.

To me, the musical is best when it's a musical comedy. So if you have a very, very funny show, and very good, funny songs, that's what the musical does best.

To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.

To me the most important thing is getting into a studio and making an album that is 12 or 14 amazing songs, getting up onstage, and making people happy by livening the rock.

To me the poets are closer than I am to the idea of voice, to a sort of primeval song that we all participate in.

To me, there's two types of songs, good and bad. And I just like to stick with the good ones.

To me, there are 3 parts of the album process: writing, recording, and my favorite part: getting to sing the songs with the fans every night.

To me there's a definite way of doing a song. If I didn't think that, I wouldn't have done it that way in the first place.

To me, there is nothing more soothing than the song of a mosquito that cant get through the mesh to bite you.

To me, there's nothing worse than going to a concert and you're so looking forward to hearing your favorite song and they never play it. You're gutted.

Tone is an interesting question because part of the inspiration of looking to song is that Geisel himself - when you think about his animated version of The Grinch - embraced the idea of using songs in unconventional ways, as part of conveying a narrative. The use of music, in this film, is very unconventional, which I love.

Too many times I've heard records from bands who were obviously, like, 'Well, we're at least gonna do half as well as we did on our last record. At least we can count on that.' You really have to keep that initial hunger that made some of your first best songs your first best songs. You have to keep that fire in the belly.

Too many times you come across lyrics that sound like you've heard them before or you can't really relate to them. And I think that I write songs that sound fresh and sensual in kind of a layered, lush way. But I also think that they are real, and that's why I wanted to call the record 'Inside Out.'

Too many musicians rush through everything with too many notes. I need time to take the picture. A ballad should be a ballad. It's important to understand what the song is saying, and learn how to tell the story. It takes time. I can't rush it. I really can't rush it.

To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.

To reach the highest level you have to not just have a dream and focus but you also have to make sure you are writing great songs, and if you feel they're what you want to represent you, that is key. But getting out on the road is key. And get your music out there. Maybe something catches, maybe it gets picked up and used on television, you just never know.

Torch songs are confessions. They are an expression of feeling that cannot be concealed or contained or minimized. They are marked by anguish, yes, but also by yielding.

To propel our Louisiana culture into the future seems to be quite a task, but if one lives for the music as Cedric does, the path seems effortless. These songs may well be early brushstrokes of a life's worth of possibilities, not only for himself, but also for the identity survival of a culture.

To really be tortured by a song, it needs to be more than just something you don't like or don't get; it has to make your skin crawl by getting under it. Strangely, that last clause could describe provocative or daring music, as well.

To rise above treeline is to go above thought, and after, the descent back into bird song, bog orchids, willows, and firs is to sink into the preliterate parts of ourselves.

To sing a song is like whispering to a child's ear. It is an art heavily relying on improvisation.

To sing you must first open your mouth. You must have a pair of lungs, and a little knowledge of music. It is not necessary to have an accordion, or a guitar. The essential thing is to want to sing. This then is a song. I am singing.

To say that we have a clear conscience is to utter a solecism; had we never sinned we should have had no conscience. Were defeat unknown, neither would victory be celebrated by songs of triumph.

To take part in the African revolution, it is not enough to write a revolutionary song. You must fashion the revolution with the people. And if you fashion it with the people, the songs will come by themselves.

To the audience, it's like I'm changing the subject every five seconds, but to me, my show's almost like a 90-minute song that I know exactly. I wrote every note, and I know exactly where everything is.

To the uneducated eye, as to the incurious mind, much of the world is in darkness, and a thousand songs are lost on the unlistening ear.

To this day I get mail from women who say, I went to law school because of your song. But I would hate to think out of the wide spectrum of things I have done in my career, that's all I would be remembered for.

To this day, I fondly recall the challenges of building a fire, pitching a tent, climbing a New England mountain, canoeing on a lake. Camp songs still resonate inside me. Competition exists at Keewaydin, of course, but nobody fails summer camp, a nice respite from winters of fortune and misfortune at school.

Traditional folk music is about survival of the fittest song just like evolution is about survival of the fittest organism and generally the more times a song has been passed down the generations the more brilliant and concise it becomes as every link in that chain can add something good or remove something unnecessary.

Traditionally, an engineer is responsible for capturing sound - microphone choice, gear, etc. A producer can have a number of different responsibilities - anything from songwriting to judging performances - setting mood, and (perhaps most importantly) choosing which songs to work on!