Best 8933 quotes in «song quotes» category

All this role model bullshit; you don't have any extra responsibilities because you made some good songs! Your only responsibility is to make good songs.

All things are aggregations of atoms that dance & by their movement produce sound. When the rhythm of the dance changes, the sound it produces also changes... Each atom perpetually sings its song, and the sound at every moment creates dense subtle forms.

All those ridiculous songs about love - I finally understood.

All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.

All we do as songwriters is rewrite the songs that have impressed us till we find our own voice. It's part of learning the craft.

All truths, not merely ideas, but truthful faces, truthful pictures or songs, are highly beautiful.

Almost every band has somebody who's the main songwriter and who has a vision, a very clear idea of how a song should be.

Almost all the producers I know and dig, like Quincy Jones or Brian Eno, are really musicians first. I'm a composer, an orchestrator, an arranger and a musician first. I know how to write and rewrite songs, and the genius is really in the rewriting.

Almost every song on OK Computer revolves around how I am afraid computers get up at night and attempt to choke me with their wires.*doesn't laugh*

Almost all the shows I've been connected with have been extremely well cast. They're playing the show, not just doing the songs.

Along with some of the worst music of Bob Dylan's career ("Self-Portrait," 1970), this period produced some gems - including many songs recorded with The Band in '67 but not released until years later.

A lot of artists are used to their music being reused online and have come to accept and embrace it. You have a generation who go on YouTube and remake and remix music online all the time. They remake and upload songs and videos, and then other people remake the remakes; it just keeps going.

A long time ago, I made the commitment to dedicate at least one song per album to God. He has been very good to me, and never for one minute do I want Him to think I've forgotten, because I haven't.

Along with a lot of other things, becoming a Bob Dylan fan made me a writer. I was never interested in figuring out what the songs meant. I was interested in figuring out my response to them, and other people's responses. I wanted to get closer to the music than I could by listening to it - I wanted to get inside of it, behind it, and writing about it through it, inside of it, behind it, was my way of doing that.

A lot of artists come into the game with a radio record, but they don't establish the fans as fans of their style of music. It's just that they're a fan of that song, and after that song plays out, it's real hard for 'em.

A lot of country music is sad. I think most art comes out of poverty and hard times. It applies to music. Three chords and the truth - that’s what a country song is. There is a lot of heartache in the world.

A lot of ideas get re-used and made part of new songs if the first version didn't cut the mustard, and the stuff that gets left off usually contained the germ of something good but failed to reach a satisfactory state by the recording stage.

A lot of my early career, I wrote story songs that had narratives, that had plots.

A lot of my songs are about death and the fleetingness of life. It just feels good to remind myself about that a lot. For whatever reason. And it's a beautiful thing, actually. It seems to me like it's a beautiful way to live in the world and to relate to things, with an awareness of temporality.

A lot of my songs are fantasy. I can dream up all kinds of things. That's the kind of world I live in. It's very sort of flamboyant, and that's the kind of way I write. I love it

A lot of my songs, they're like puzzle pieces, and there's just one way to put them together. You could, if you needed to, get the scissors out and cut up things to make them work. But I don't want to do that.

A lot of individuals I've met that I've done a song or two with. But to be honest I'm not incredibly familiar with the scene. I mean, I'm more familiar with people coming from other countries like Latin-American MCs and African rappers... that type of stuff I'm really starting to get a hold on.

A lot of my writing is not terribly civilized. Sometimes I listen to songs by very smart writers who assume that the world is a civil place with certain formalities that people follow, but I don't see things that way. My own experience tells me that life is not like that. That's why I write the way I do.

A lot of people are really quick to say, "That song sounds like this." Or you - "He's tryin' to sound like this." And I'm always like, "You're damn right I am. That's how - that's why we're all here." You know, we all grew up idolizing another musician. That's how this works. That's how music is created.

A lot of Gorillaz songs were very personal. I mean, that's why it was interesting, because it wasn't music being made for a cartoon. It was something different. It was a much more emotional affair. I wasn't necessarily thinking in the third-person then.

A lot of Irish people perform. They perform in drawing rooms. They sing songs and they play piano.

A lot of my albums that Ive done, a lot of the songs have been the first take. Its before you mess with it too much - you can take away all the spontaneity and the emotion of something by trying to make it sound perfect.

A lot of my heartbreak songs are inspired by things my sisters are going through, or friends.

A lot of my songs are personal and about me being 16 and having guys break my heart and feeling like it's the end of the world.

A lot of my songs deal with spirituality and God, and I guess if you're in tune with that, you'll read into it.

A lot of love records or breakup records, a lot of the songs can tend to be on the blame side and the bitter side. And this was good for me, writing, because it made me feel like I was forcing myself to be more mature and grow up a little bit. It's not putting the blame on anybody, it's accepting responsibility just as much as the other person.

A lot of my songs are very personal, always, but this one felt like a memoir. I almost called it Hallucinated Memoir. "Granny" is a hallucinated memoir. It's straight-up symbolism for my life, in many ways.

A lot of [my] songs have a sexuality to them, a vibe to them. ... I call it sexy rock and roll.

A lot of people do talk about the demise of the album, but I still believe that if an artist tries hard to make a great album, people will buy it and listen to it as an album, rather than just a collection of random songs.

A lot of people listening to music now don't listen to the songs or lyrics at all. They just go, "Good tones..." and that's it.

A lot of people don't realise I came out of the Smoky Mountains with a load of songs.

A lot of people felt that I was just tying that into the "I Want Your Sex" theme because of the AIDS thing and the prospect of the song's being banned. I thought it was a relevant point to make because of the AIDS thing. I wanted to write a song which sounded dirty but which was applicable to someone that I really cared about. That was my point.

A lot of people put out albums with sort of crappy songs and a couple of singles because they know no one's going to listen to it anyway. We very much wanted it to be something that you do listen to from beginning to end and had a narrative that was important.

A lot of people got something to prove. If I had something to prove, I proved it already, so why do I have to go showboat? Like, I don't say I got the hottest song in the world. And, personally, I think otherwise.

A lot of people have a particular song that, no matter their mood, turns them on. With me, it's Eleanor Rigby.

A lot of the album is made of love songs I've written over the past three or four years that have lasted the test of time. It's probably the thing that connects the songs together other than the sound of my vocals.

A lot of people when they try to sing Skid Row songs, they're screaming and yelling too much. It's more singing than screaming.

A lot of philosophy is bull***t, but a lot of it is what we write songs about too. And it's organizing your thoughts, organizing your intellect.

A lot of rap songs don't usually have a lot of melody per se.

A lot of songs are empowering because everybody who has been through a hard time in a relationship or in their lives can relate to it.

A lot of songs I sang to crowds to get their reaction. That's how I knew they'd hit.

A lot of songs are derivative of each other.

A lot of songs are inspiration and help people through pain, grief and loss.

A lot of songs you write are just for exercise - just pencil sharpeners.

A lot of the early songs I wrote were about the experience of going to London and meeting rent boys and transvestites and drag queens. A lot of my early material is that: the wide-eyed adventures of a middle-class boy.