Best 8933 quotes in «song quotes» category

I wish more artists would do that sort of thing - just focus on one sound on a record instead of "Here's my club banger, here's my metro booming track, and then here's my Americana song." I like albums to feel like a world. That's just me.

I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song.

I wish the opera was every night. It is, of all entertainments, the sweetest and most delightful. Some of the songs seemed to melt my very soul.

I woke up one morning with this song in my head, and the opening line of the song: My name was Richard Nixon, only now I'm a girl.

I woke up this morning, Smiled at the rising sun, Three little birds, Sat on my doorstep, Singing sweet songs

I won't be indulging in anger anymore, vehemently and self-righteously singing protest songs, and expecting them to bring peace to me or anyone else.

I won't deny a song or a melody. I can't deny it.

I won’t sell my songs for no TV Ad.

I wonder what kinds of songs Preston's father sang to him." Zach raised his eyebrows. "I wonder if he's in a cell humming them to himself right now." I should have said something-done something. He was in a dark place, there in the moonlight. But before I could say a word, Zach took a deep breath and looked up at the fortress. "I wonder if I should join him.

I wonder why we always deny love. I remember in middle school, if you were accused of the crime of loving, you screamed denials constantly and stopped ever even looking at the boy you were accused of liking. The boys could destroy each other by yodeling, "An-drew lo-oves Jen-nie," and both Andrew and Jennie would flinch and blush. Love is this great thing that most songs and books and poems and lives are all about. So the minute we actually think there might be love around, we start laughing and pretending and hiding from it.

I work on words quite separately to music. They're both ongoing, and I don't ever feel like I'm working in a cycle in that respect, because it's every day anyway, no matter what I'm doing. Then I get to a point when I've collected together enough words that seem like they want to be songs rather than poems, or sometimes not.

I work so I don't need to make rent through my songs, and I think if more people engaged with music without needing it to provide for their welfare, you're not beholden to anyone.

I worked with Snoop, but I would love to work with him again, but DMX I would love to work with him as well I met him in Atlanta; I went to one of his concerts; I would love to do a song with him. I respect him and really like his music.

I work on words, mostly, toward them being poetry or short stories, and then some of those become songs.

I would always sing it (Take Me Out To The Ballgame) because I think it's the only song I knew the words to.

I would be happy if I could meet some musicians interested in different acoustics and traditional music. Maybe I will find some Native American or Latin tunes. Anything. Even maybe a great heavy metal guitar player or drummer, and we can do something wild together. My next step is making more music without formats or borders. Not just simple songs or doing covers, but music with more ideas. I think it will again be a synthesis with something else.

I would be quite happy never to play any of my better-known songs again. But unless you're Dylan, you can't afford to completely disregard what your audience wants.

I would always write lyrics and songs on the piano.

I would be content if I had nothing but a tape-recorder. I could still write songs and record them

I worry that if I enjoy something - like the songs on 'Some Nights' are about wondering about who you are. I'm never quite sure and I'd hate to feel sort of content and get a good sense of who I am because if I know one thing, that's not me. I don't mind not necessarily being happy about it. And that's fine.

I worry that, especially as the Millennium edges nearer, pseudo-science and superstition will seem year by year more tempting, the siren song of unreason more sonorous and attractive.

I would describe my style of songwriting as classic. I learned very early on and have stuck to the core principles of song structure regardless of which genre I'm writing in.

I would enjoy venturing into music, as I do write songs and compose music! And, of course, dance, rhythm and performance are in my blood, so eventually I see myself doing something in that area, surely!

I would get songs sung to me, like 'Old Man River, 'or kids would call me Mississippi and things like that. At the time, I wished I had a name that blended in more with my surroundings. Now, though, I've really learned to love it. From fifteen, I really liked it. It felt appropriate. Before that, I don't think it quite fitted me. I had to grow into it.

I would go into my three different sisters' rooms in the early-mid '70s and they had very specific different tastes in music. I specifically remember lying on my different sisters' bedroom floors and listening to their record collections. And "Starship Trooper" was one of my sister Nancy's favorite songs and favorite album. Music is so defining for me. In the late '70s and early '80s, I worked in radio. When I was in high school, I worked at two different radio stations.

I would get records by Earl Scruggs... I would tune my banjo down and I'd pick out the songs note by note. Learned how to play that way. I persevered. There was a book written by Pete Seeger, who showed you some basic strumming and some basic picking... And I kind of worked out my own style of playing.

I would feel really dishonest writing a song that was really sassy, or really confident, because I'm not a supremely confident being. I think that's what people find interesting about what I do; it's very different lyrically.

I would go on the iTunes chart and see the hottest songs, then I'd cover them. People would go on YouTube and search for those songs. That's how I got my views. I'd post two or three songs a week.

I would have to say Björk is my dream collaboration. She's just such a character and has such a spirit that is unlike any other artist out there. She's literally on a whole 'nother planet. She's consistently changing and evolving and doing these different wild things with her songs. I think I could learn a lot from a person like that.

I would INSIST this record is in NO WAY COLD influenced. Don't get me bent though, I have been a huge fan of Cold from day one. One of the best most awesome song writers. Kelly has in OWN sound, He recorded on the POINT OF ORIGIN Record so there, of course, will be something that familiarizes the Cold sound. But Allele is much heavier, and just kind of warmer, different techniques and a different sound all together. Allele I think is more intense.

I would like to be able to do a song with Ray Charles, before we both get too old.

I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.

I would like the ambition to go directly into songwriting; individual songs. I want to see what I can do to push myself sonically with songwriting. I'm excited to have no parameters. When the idea shows up and I execute it to the best of my abilities and then I'm done.

I would like to be remembered as a - somebody who could rock your soul or make your cry with a song. And somebody who's kind, who loved to laugh, and loved his God.

I would just be constantly writing all these zingers - like, 'Burn. That would really get her.' And I know people are going to obsess over who it's about, because they think they have all my relationships mapped out. But there's a reason there are not any overt call-outs in that song. My intent was not to create some gossip-fest. I wanted people to apply it to a situation where they felt betrayed in their own lives.

I would imagine after the first recording session with Jerry Leiber and Mike Stoller and Atlantic Records I began to realize that this is going to be like this for the rest of my life and I knew that what, what they were doing was going to be successful because with each session that we would do, it would get better and better and better, the songs would become better, the, ah, the feeling of success was there and we were all in the middle of that as well.

I would love to hear someone write a song like 'He Stopped Loving Her Today' rather than 'You're hot. I'm hot. We're in a truck.' It's just mind-numbing to me.

I would mimic what I saw in Grease and Guys and Dolls in front of my mom's mirror and I would practice voices and songs. When you put me alone in a room, that's what I would do.

I would never know how that person felt when they first heard my song. They coulda been at rock bottom and my song could have literally been the thing that saved them, but I would never know that.

I would love to make a bunch of country demos and write country songs for really great country singers.

I would make far more money if every song were my own, but I don't write to fill up the album with my songs.

I wouldn't have made it past the first round of American Idol auditions. It was months before our first song was recorded. The guys were like, 'Just seeng!' And I was like, 'I don't know how to seeng! Can't I just play the triangle?'

I would never sit and write a song in front of anyone, because you're so vulnerable. I don't know at what point in the process that it becomes acceptable to pass them on. When a song wants to be written, it will be written. When it does come, I will very rarely go back and edit lyrics. I'm quite a rational human being, and the only part of my life that I can't rationalise, or can't make sense of, is how a song gets written or why.

I wouldn't even say "Imagine" is political. I think it's…more just sort of declaration of humanity. I don't find his political songs to be the ones that I go home and listen to. And I would say that of any artist. They're not the ones that interest…

I wouldn’t be able to write a song like “Someone Like You” and get someone else to sing it because it’s so personal. It’s like giving away your heart.

I wouldn't just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.

I would only listen to certain things, like a lot of teenagers do. But the Tragically Hip is a ribbon that's been with me pretty much my entire musical life. Every mix tape I ever made had at least one Hip song on it. Right from the outset I feel like Gord Downie built so much room into his songs. There was so much space in them that he created. He made me think of songwriting as full of boundless possibilities in a way that - well, that a lot of songwriters do, but that was the first time I thought a song could really contain multitudes.

I would pray that I'd leave a legacy of faith, trust and joy. For the joy of the Lord has been my strength and song, and I praise Him.

I would push for more production and Steve Miller would say, "Why do you want to have more production when you have real songs? You don't want to cover up the song.

I would rather be remembered by a song than by a victory.