Best 8933 quotes in «song quotes» category

When the warrior returns, from the battle afar,To the home and the country he nobly defended,O! warm be the welcome to gladden his ear,And loud be the joy that his perils are ended:In the full tide of song let his fame roll along,To the feast-flowing board let us gratefully throng,Where, mixed with the olive, the laurel shall wave,And form a bright wreath for the brows of the brave.

When they turned off, it was still early in the pink and green fields. The fumes of morning, sweet and bitter, sprang up where they walked. The insects ticked softly, their strength in reserve; butterflies chopped the air, going to the east, and the birds flew carelessly and sang by fits and starts, not the way they did in the evening in sustained and drowsy songs.

When this song come on, I'm spending money...Play something I can spend some money to.

When two souls compose a single song, The muse fans Livid wrath before long.

When we are bursting with some wordless experience, Art is our voice, the song of the heart.

When we are touched by a song, it is because the artist cannot hide himself.

When we, believers, sing our songs of worship, not only do we praise God through them, but we preach to ourselves. As we sing the truth of who it is we're worshipping, as well as honoring God, it can be so helpful to us. Worship is about magnifying the right things. It can be so easy to let the struggles of this become all consuming, and we must not ignore them. But when we worship, instead of magnifying and focusing on those things, we magnify and focus on the name, the strength, the power, the grace of Jesus. When we do that, it puts everything into perspective.

When we go on about the big things, the political situation, global warming, world poverty, it all looks really terrible, with nothing getting better, nothing to look forward to. But when I think small, closer in - you know, a girl I've just met, or this song we're going to do with Chas, or snowboarding next month, then it looks great. So this is going to be my motto - think small.

When we listen to improvisational jazz, or solo classical violinists, the way they phrase and inflect melodies feels vocal, like they’re talking to us. When I was figuring out how to perform solo, I wanted to move back and forth between bass riffs, melody, and harmony, so I often used sounds instead of — or alongside — the words of a song. I found that if I sang a line using the consonants, vowels, shadings, and inflection we recognize as human language sounds, people responded as if I were talking to them.

When we speak, in gestures or signs, we fashion a real object in the world; the gesture is seen, the words and the song are heard. The arts are simply a kind of writing, which, in one way or another, fixes words or gestures, and gives body to the invisible.

When we started I wasn't the singer. I was the drunk rhythm guitarist who wrote all these weird songs.

When we recorded the song I Just Can't Stop Loving You, my vocal range is a little higher than Michael's range. He had me re-sing the demo in the new key. Then doing that he filmed me singing this demo in the new key. I actually said, "What are you doing? Why are you filming this?" He said to me, "Because I want to sing it like you. You sound so great and I want to sing it just like you." I said, "Oh, great, Mike, my friends are really going to believe me when I tell them that Michael Jackson wanted to sing this song just like me." We laughed about that.

When we're falling in love or out of it, that's when we most need a song that says how we feel. Yeah, I write a lot of songs about boys. And I'm very happy to do that.

When we started the band, I was really like, "We just want to make a lot of records" - not quite unlike Guided By Voices' schedule. I've always thought that our live thing is what we do best, and having a really robust, big catalog makes for the most interesting live band - especially with people, at this point, traveling to see us night after night. For us to have almost 100 songs to pull from is a really cool thing. The sets can be different. They can be invigorating on an intellectual level. I definitely hope to continue to release records at an accelerated pace.

When we were making the record, I just decided, at the last second. I thought, "This song ["Ordinary World"] makes a lot of sense, being on the album [Revolution Radio].

When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.

When we try to write a pop song, we go for standard pop arrangements, even to the point where we will go to the key change at the end, which is really cheesy.

When we were at school we were taught to sing the songs of the Europeans. How many of us were taught the songs of the Wanyamwezi or of the Wahehe? Many of us have learnt to dance the rumba, or the cha cha, to rock and roll and to twist and even to dance the waltz and foxtrot. But how many of us can dance, or have even heard of the gombe sugu, the mangala, nyang umumi, kiduo, or lele mama?

When we were making vinyl records we had a lot of time limitations for each record so songs were left off for a number of reasons. Now, with CDs, much more music can be included.

When writing I just go with the song. I go with the song and try to tell the story. So the story may be "Wonderful Baby", which is a little song. Or it might be a gentle song, "Empty Chairs". Or it might be a rock and roll song like "Prime Time" or "Run, Diana, Run", or "American Pie". I don't know where it's gonna go. I don't have any idea what I'm doing. I just do it. I just keep doing it. I keep taking adva

When you are in the American Idol bubble, a lot of contestants want to go as far as they can and wish to be on point with ready-to-go songs.

When you are pushing yourself to not go back to the same well, you're gonna come up with something different, or you'll find songs that are different.

When you ask a songwriter, "What's your favorite song?" he goes, "The next one.

When you a young kid at that age at that time, and you know that you got talent as far as hip hop, you wanna be on the radio, that's the first thing. So we was more or less infatuated with just havin' a song on the radio, you know? Before our careers even launched it was more or less about lettin' everybody know, 'Staten Island? You got good emcees there.'

When you are writing a song for something else, if you are doing something for money, I always think that's bad luck.

When you break into song, it's not about dialogue, it's not about how you would speak in a naturalistic sense-it's about expressing your inner torment or your inner joy.

When you construct a mix tape, the first song you come out with has to be a barnburner.

When you direct the dialogue you can be precise, but with a song as a director you're more like a football coach. You can say one, two things in the beginning and then the actor has to follow what happens.

When you do a cover it's a way to get attention clicking on something. At the Quiet Music Festival, The Jicks did this Nirvana song, very unrehearsed and not important, but then all the websites were like, "They covered Nirvana!" People like covers of famous people.

When you do a song new live on stage, it's kind of a bit weird until it gets worn in, you know, like oiled up a bit. It's still a little bit stiff until you really thrashed at it for a few weeks.

When you find great songs, and somehow you get a spark in a little way, it can become brand new.

When you enter the realm of politics, you don't enter it because you want to be popular. When I want to be popular, I pull on a guitar and sing a song.

When you first start a band all you think about and spend your time doing is writing songs, play shows, in the simplest way and the simplest formation of the band. It's about the gear, and that guitar that one day you will buy. It's a beautiful time. I'm grateful for having that time. Then life flips upside down, all of a sudden you are strapped to a rocket ship, you get a hit, then it is tough to keep grounded.

When you get to say something in a song you're not directing it necessarily at one person. When it's in a song it's easier to get it out. I don't really worry so much about it when I'm writing a song.

When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.

When you first sit down to write the first song, until you've maybe got three or four under your belt, it's always, to me, like a mountain to climb. You look at that one blank piece of paper and you think, `God, how many songs do I have to write here?' It always feels like pressure.

When you have a song on the radio your career and your life changes maybe for the better and maybe for the not so good depending on how it's going that day.

When you hear a good traditional gospel song it makes you wanna go buy a three piece suit

When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song

When you hear kids singing your songs it just validates them, they sound like real songs when you hear them back, it's quite refreshing. Like songs that could have been around for a hundred years.

When you hear an instrumental song someone is singing over, you know right away it's wrong.

When you listen to an album, it shouldn't feel like, "That's the girl song," "That's the club song." I shouldn't know what you're thinking while you're making the song. I don't want to know what the artist is thinking.

When you listen to the music in this film [Despicable Me], it's working on the level of melody, but the other key element is lyrics. There are a number of songs in the film where the lyrics themselves are very much speaking to the essence of what Ted Geisel was setting out to do.

When you listen to the Anthology of American Folk Music, or anything like that - a compilation of garage bands from the Northeast in the early '60s - you're not necessarily listening to the band and thinking about the lead singer, or the story of the group, or the context or the mythology of the group. You're just listening to the song and whether or not it has a hook.

When you look into the eyes of your people out there that came to see you, that's when it's like, 'Yep, this is what it's all about.' This is why we don't sleep, and this is why we write songs and try to be the best. This moment right here onstage.

When you love what you do, you just really fall in love with it. Sometimes you record a lot more songs than the album will even hold. You record like 300 songs and only 12 songs go on the album. It takes time. But if you love what you do, it works out.

When you make a solo record, it's you. It's your name. It has to be the right songs for how you feel. It just took me a really long time to get to a place where I felt comfortable with the material and the recording.

When you play guitar you are drawing a frame around a moment and saying to the listener, 'Here is how I want you to experience this. How you begin and end a solo is framing, How you structure a song is framing, how you present yourself onstage is framing. See every corner, not just the center, framing should heighten the impact of the art and give clarity to your vision.

When you play the bars, you pay your dues. It does matter that you know those things [songs]. And the great thing for me, too, is that I draw on that stuff as influences. It's also stuff that you put in the tank that you pull from to make records.

When you put your arms around me, You let me know there's nothing in this world I can't do