Best 8933 quotes in «song quotes» category

The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.

The title of that great Christmas song was 'Boogie Woogie Santa Claus,' and no one ever heard of it.

The title of a song is like the wrapping on a present.

The travels before and after the tour are what add up to what you're doing. You are really called into service - and it's the service industry man, it's blue collar man, I'm sweating by the second song. It's construction work from that second song on.

The Treorchy Male Choir - the very name is a song! May I thank the Choir, past and present, for all the glorious music-making they have shared with us.

The triumphs of the warrior are bounded by the narrow theatre of his own age; but those of a Scott or a Shakspeare will be renewed with greater and greater lustre in ages yet unborn, when the victorious chieftain shall be forgotten, or shall live only in the song of the minstrel and the page of the chronicler.

The true treasure lies within. It is the underlying theme of the songs we sing, the shows we watch and the books we read. It is woven into the Psalms of the Bible, the ballads of the Beatles and practically every Bollywood film ever made. What is that treasure? Love. Love is the nature of the Divine.

The truth about autobiographical songs, he realized, was that you had to make the present become the past, somehow: you had to take a feeling or a friend or a woman and turn whatever it was into something that was over, so that you could be definitive about it. You had to put it in a glass case and look at it and think about it until it gave up its meaning.

The truth is, I initially became a singer-songwriter while still in my teens because it was the only way to guarantee that somebody on earth would sing the songs I was writing. Since then, I've performed just about everywhere: rock clubs, concerts halls, arenas, TV.

The truth is, people go to shows because they want a show. They want showbiz. When people talk about a show they saw it's not because they heard a song, it's because they were excited and geared up about the show.

The truth of it is that every singer out there with songs on the radio is raising the next generation. So make your words count.

The tweets are getting shorter, but the songs are still 4 minutes long. You're coming up with 140-character zingers, and the song is still 4 minutes long…I realized about a year ago that I couldn't have a complete thought anymore. And I was a tweetaholic. I had four million twitter followers, and I was always writing on it. And I stopped using twitter as an outlet and I started using twitter as the instrument to riff on, and it started to make my mind smaller and smaller and smaller. And I couldn't write a song.

The two biggest hits (by Machito)... were about that enduring Cuban song topic-food: 'Sopa de pichn' [pigeon soup] and 'Paella'. If you think that all songs about food are double entendres for sex... Well, maybe all songs about food can be double entendres, but in many periods of Cuban history, for many people, food has been harder to get, and the subject of more fantasies, than sex.

The type of music that I love to sing would have to be more bluesy and jazzy and more soul-like because I love to belt when it comes to singing, so I guess bigger songs are what I lean more towards.

The ultimate source of energy, the sun is ready to set. The leaves of the blooming lotus flower in the pond are losing their lustre. A bumblebee, sitting on that lotus is enjoying the romantic pleasure and murmuring passionate songs.

The unhappiest people I know, romantically speaking, are the ones who like pop music the most; and I don't know whether pop music has caused this unhappiness, but I do know that they've been listening to the sad songs longer than they've been living the unhappy lives.

The universe corresponds to the nature of your song.

The unpurged images of day recede; The Emperor's drunken soldiery are abed; Night resonance recedes, night-walkers' song After great cathedral gong.

The very best thing you can do is to try to write a song that has some sort of impact.

The very first song I wrote was about a boy that I was obsessed with.

The very funny thing about "Like A Rolling Stone" is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.

The very idea of a bird is a symbol and a suggestion to the poet. A bird seems to be at the top of the scale, so vehement and intense his life. . . . The beautiful vagabonds, endowed with every grace, masters of all climes, and knowing no bounds - how many human aspirations are realised in their free, holiday-lives - and how many suggestions to the poet in their flight and song!

The very strength that protects the heart from injury is the strength that prevents the heart from enlarging to its intended greatness within. The song of the voice is sweet, but the song of the heart is the pure voice of heaven.

The video forum for me has been a source of great consternation because once you start projecting a look to a song, it robs the listener of their ability to adopt that song and make the lyric their own.

The visual side of being a performer or in a band is, to me, as important as the music. I know not everyone shares that same opinion, but when I'm writing songs or working on lyrics or coming up with an idea, I think about videos as I'm in the studio. If I had all the money in the world, I would have the most amazing videos ever, you know? You're saying grandiose, and big; if the song warrants it, I try to push the visuals as far as I can.

The way a musical can make us feel is unlike anything else, in song and particularly in dance. I think people fly through plate-glass windows when they get shot because movies don't have dance scenes any more. This is what we do instead.

The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.

The vocals are what immediately draw people in and sell the song.

The way I choose to show my feelings is through my songs.

The way Jacques Brel writes a story, getting into the character, bringing out all his faults and qualities in the same song.... Not that I could ever write in such an epic way, but it really is a different way to go about writing lyrics...and I find that quite inspiring.

The way I see it, all the popular singers are strippers.

The way I take in the world is by seeing it; that is very much evident in the songs that I write.

The way radio is working right now, you can't put out anything just based on the producer's name. The general public and radio are so selective and focused on a certain genre and a certain set of songs that you have to have a great song to crack through all that.

The way that I've always viewed my career, I always do what comes to me. I don't write forty songs per album, I write fifteen to twenty songs and pick the ones that represent this period of my life the most.

The weary August days are long; The locusts sing a plaintive song, The cattle miss their master's call When they see the sunset shadows fall.

The way you look for songs, you find yourself looking for little signals and clues about life and how things are.

The whole basis of the music is that people have these emotional attachments to these songs - whether they love it or hate it. Being able to manipulate that is a really easy way to connect with people.

The whole industry evolves around a great song

The whole point of art, aside from the aesthetic pleasure it yields, is that it provides a bridge to the past; that seductive land where we all find certainty and consolation. Nothing quite spans this gulf with such immediacy as the art of popular song.

The whole point of me doing a Christmas record and what I centered it around was the song 'Christmas with You' from the point-of-view of the soldiers in Iraq.

The whole first two-thirds of the I Just Can't Stop Loving You song is just he and I. He's singing lead and I'm doing all the harmonies and we're both singing all the background. We're singing all the choruses until the choir comes in. We were the first two-thirds of the song.

The voice will always be heard, even if the song is very different.

The way I see it, there's only one melody for any song.

The way that I write songs is pretty simple. I hear music first, much like you would when you're scoring a film. I usually hear a soundtrack in my head, and after I get that soundtrack, it tells me what it's about, what it feels like, what the emotion is, and the words come after.

The weirdest thing I've been fascinated with nowadays is the new contemporary country music, which to me sounds like very strange '70s pop, and sometimes like rock music. But some of the themes in there - maybe it's because I know how the songs were written, but it really does sound like it was written by two or three people, with the idea to appeal to the most general audience.

The whales do not sing because they have an answer, they sing because they have a song.

The whole Beatle thing was just beyond comprehension. When 'Help' came out, I was actually crying out for help. Most people think it's just a fast rock 'n roll song. I didn't realize it at the time; I just wrote the song because I was commissioned to write it for the movie. But later, I knew I really was crying out for help.

The whole of life itself expresses the blues. That's why I always say the blues are the true facts of life expressed in words and song, inspiration, feeling and understanding. The blues can be about anything pertaining to the facts of life. The blues call on God as much as a spiritual song do.

The whole positioning and atmosphere of the song ["King of the Mountain"] was to build up this thunderstorm that would take us all onstage off into a story where we were suddenly in the middle of the ocean.

The whole trouble with a folk song is that once you have played it through there is nothing much you can do except play it over again and play it rather louder. Most Russian music, indeed, consists in ringing changes on this device, skilfully disguised though the fact may be.