Best 8933 quotes in «song quotes» category

You don't have to pound your head after hearing a country song and wonder if you missed something.

You don't have to be a cheater to sing a cheatin' song, that's what I'm saying.

You don't have to be the best guitar player, or have the best voice, or even be the best looking person - writing a song that moves people is worth more than all the other nonsense. (Just look at Bob Dylan - he's got almost no vocal range at all, but his songs are deeply moving and iconic.) If I had to offer one piece of advice: Write a song that moves people, and write it from within yourself. Your personal narrative is more engaging and moving than anything else you can imagine in your mind.

You don't know a thing about me

You don’t need help to write a song. You just need to get over this experience that bummed you out so bad. The relationship you were in is over, it was over a long time ago, and you need to move on.

You either have it or you don't. You play your horn just like you sing a song or a hymn. If it's in your heart, you express yourself in the tune.

You don't want your kids to hear songs of this nature... But you take em to the movies to watch Schwarzenegger!

You don't write a song to sit there on a page. You write it to sing it.

You end up throwing a ton of energy into one or two tracks, and the song that we thought was gonna be the single isn't the single.

You explore beautiful songs & create your own interpretation of them.

You find your preferred resolutions and harmonic intervals and what-have-yous, and then you either keep writing the same thing until everybody is as bored with your songs as you are, or you try with all your might to get out of those patterns. This is what a lot of the work is all about.

You get committed with what you put in songs. It made me wary of who and what I include, because that's there forever.

You give me a @#$%& kazoo and I'll write you a good song.

You gonna hear a lot of loving songs in there, you gonna hear betrayal songs, you gonna hear action that takes place on some of the records ... But it all revolves around that world, that Shaolin/ Wu-Tang world. They just battling one another, and at the end of the day, we all come to find out that we're one and the same. We fighting each other but we're the same.

You had my heart inside of your hand but you played it to the beat

[You Got To Make It Through The World] it's kind of a survival song. Survival is what's happening and it's basically a song about that.

You have moments of grief in life, and if you can put pen to paper and capture that, that's something wonderful. I can revisit actual songs about past deaths, and I know that emotion is as true now as it was then.

You have this mounting aggressive ignorance with the rabbit's foot of their particular religion. You don't really have any kind of spiritual law, just a kind of a rabid mental illness. The songs are a little slice of life.

You have record companies that sign acts that they think are great, and then they never do anything. Acts that they don't think are really going to do much end up having a career. I don't think anyone really knows what it is that drives somebody to get on their computer and want to download a song.

You have stopped the arrow of time... There's no meaning to this rhyme... Because my song will never mean as much as the one.. He once sang.. For you, yes, you.

You have to create different things, either through lighting or changing the format of the songs and how you're going to sing them, and even sometimes props.

You have to be careful when it comes to copyrights, whether just sounding like or feeling like something is enough to say you violated their copyrights because there's a lot of music out there, and there's a lot of things that feel like other things that are influenced by other things. And you don't want to get into that thing where all of us are suing each other all the time because this and that song feels like another song.

You have to bounce in life with joy. Your strength lies in your smiles and your songs.

You have to constantly arrange yourself around them, and that can take up a lot of energy. I mean, you don't go, "Why don't you cook dinner tonight, dear, for a change, instead of writing a great song?" I loved what [Paul Simon] did with words. But I wanted to do some more of that, too.

You have to keep challenging yourself. I've always tried to do that, and I'm not saying I've always been successful. Maybe I've rewritten the same song; it's inevitable, but I've always been mindful of taking the writing somewhere else. You can't stick in your little comfort zone.

You have to have a plan. Everything has to be planned. For me, I start with the title of my album, before I even start with the songs. I write down different things that I want album to say, and then the songs come from the different words.

You have to look at every one of your songs and be able to identify with them in a meaningful way. You can hardly sing your songs unless you're in them. If you want to fake it, go ahead. Fake it if you want. But I'm not that kind of singer.

You have to remember that writing those sorta songs is not reality, it's more like trance, dream, y'know, like dreamwork. The mythical thing can enter the creating but there's the mythical place and the real place. And there's both...I get it between waking and sleeping. Or, when I'm doing something else. I don't sit down and think I'm gonna write about subject X or subject Y. I could be doing something and an impression comes in from outside and the song emerges out of that. It's never thought about or contrived.

You have to live what you write, or you have to know it. There are exceptions, like story songs, where you just have to have your facts straight. But I think you don't have to live a hard life to be a good or interesting songwriter.

You have to love writing a song and architecture. You have to give it a form. It is my job to create a sonic landscape. I like to create ambiance and atmosphere. The writing is the intimate part of it. It is a sketch. The production is the whole painting.

You have to write a song around this specific character or to enhance a specific scene. A lot of other craft goes on.

You hear sounds and orchestration, it's ... the fastest way, I think, to your emotions, even if you don't understand the language of the song.

You hear it in your brain. Whatever makes sense. Some songs work well as quartet songs, sometimes they don't.

You know, all my songs are relatives, brothers, sisters, cousins.

You just do the best you can. It doesn't necessarily mean that you have to get worse the more you do it. It can get better, I think... aspects of it, anyway. I mean, I don't write as much as I used to. But I don't do a lot of things as much as I used to. So that's the natural order of things, too. You're more or less living in the present. You're just trying to get that next song, whatever it is. And not think too much about what happened on the last record, or the record you made 20 years ago, because those are over with. Those are done.

You know, a song is like a kid. You bring it up. And sometimes something you thought was going to be fantastic, by the time it's finished, is a bit of a disappointment...Beyond a certain point, the music isn't mine anymore. It's yours.

You know, being able to, in my mind, have a song that you know doesn't really have any loose ends or you know, extra fat in it, so to speak.

You know, I always when people ask me, like, what is my most favorite song, I quote Duke Ellington, when they would ask him, what's his favorite composition? And I say, I haven't written it yet. Because, you know, there are different songs for different occasions.

You know, I get a lot of people pitching songs to me.

You know, I've always said, I've never felt I was a particularly good singer, but I've always thought I had a great knack for picking hit songs.

You know, it's a pretty mysterious thing still, why you start the songs you start, and the specific flavor of them, the nature of them. I don't know about other writers, but, for me, it's still somewhat out of my control. It's not really a logical process.

You know it’s a bad sign when the theme song from Titanic describes your relationship.

You know Nashville, there's people that are ten times more talented than me, ten times better singer than me, song writer than me, but for some reason you get the ball and now - and now you run with it. And you do the best you can.

You know, Nirvana used to start rehearsals with the three of us just jamming. For, like, a half an hour, just noise and freeform crap - and usually it was crap. But sometimes things would come from it, and some songs on Nevermind came from that, and 'Heart Shaped Box' and stuff on 'In Utero' just happened that way.

You know One Direction do a lot of up tempo songs, but when they did that Ed Sheeran song 'Little Things,' that was probably their biggest song off their last album, so it shows you that a ballad never goes out of fashion.

You know that old Beach Boys song, Bomb Iran? Bomb bomb bomb, bomb bomb Iran.

You know, we had problems like any other family, so I'm really similar to a lot of people out there. It's kind of why I feel like if a song is relatable to me, it's most likely gonna be something a lot of other people are gonna relate to.

You know, songs often have a very coloured past. They might have something about them but it still doesn't work, so someone else adds a bit, and someone else adds a bit so perhaps one day I'll know its full history.

You know, most love songs are not cheesy and corny. Most love songs are complaints, I think. Or about unrequited love, coming at it from some oblique angle. Only the ones that say "I love you" over and over are the cheesy, corny ones that people complain about

You know, that single girl life and that sense of isolation - that doesn't leave you just like that. And that's what that song is about. I remember that, and that is imprinted on me, that sense.