Best 8933 quotes in «song quotes» category

That's how it is with relationships, it's a part of life, and all the great love songs and poems and films have been written by people who were standing where I was that morning as Simon shut the door. Doesn't make it any easier though.

That's my goal, is to stay in a truthful place. And sometimes that means writing a silly song, or singing about sex or singing about environmental destruction or heartbreak, or my grandmother. The subject isn't what the core is about, it's about truthfulness and authenticity and that just comes from my heart and soul.

Thats one of my problems is that there are so many songs to sing that I sort of get indecisive about what I want to do in a show - because there are so many possibilities! There are so many great songs out there.

That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.

That song helped make me a world citizen. It allowed me to live, work and sing in any city on the globe. It changed my whole life.

That's one of my struggles as a hip-hop artist. If I feel like doing a super conscious song where I don't even rap.

That's really what was wonderful for me growing up, since I got to know so many of the songwriters who liked me and thought I had talent. They would then tell me how to read a lyric and sing a song, and challenge me to try and find a different end to a song.

That song is a story that shows how easily you could get slipped into being labeled as the bad guy, even though what you really trying to do is tell the bad guy to leave you alone.

That's something that I think as a songwriter you have to ask yourself - why you're doing it. The world certainly doesn't need more songs. Are you doing it just for your ego?

That's the evergreen nature of a great song. They can be resurrected. They can be covered. They can find new relevance due to changing circumstances in history.

That’s one of the great things about music. You can sing a song to 85,000 people and they’ll sing it back for 85,000 different reasons.

That song ["Money to Burn"] is me being a fly on the wall in situations in LA. I mean, I've seen the way a lot of people operate and I've seen that sort of thing go down. There's a lot of rich kids with a little bit of extra money.

That song [You Got To Make It Through The World] came from a vibe I picked up from an old blues singer named Bo Carter. My lady was making a film as a thesis for U.C.L.A. and she wanted me to write a song to depict this character. The movie had something to do with bootlegging and stuff like that. I found this Bo Carter record and he was just saying something about making it to the woods or something like that.

That's part of the curse: If you're gonna play the song, you better play it. I've tried to phone in 'Jeremy' a few times, and it's tough. It doesn't work.

That's the great thing about being in a band: it's a gang for people who are too wimpy to fight. You can create a gang and have an identity and fight for something and stand up for something just by making pop songs. They're my gang members and gang members are for life, and if you try and leave, we execute you. That's the way it goes. A simple bang, back of the head, into the river, and we keep moving on.

That's the wise thrush; he sings each song twice over, lest you should think he never could recapture the first fine careless rapture!

That story about the two women in my life is - a lot of people get upset, a lot of people question it. Steven Soderbergh said to me, "The story of your life is incredible. The real story of your life that's interesting, more interesting than all the other stuff - the franchises, the movies, the songs, Elvis Presley, Frank Sinatra - the real thing that's interesting and unbelievable is the relationship with these two women. And if you're willing to put that out there, you know then, you're going to have a great movie. Because that's the movie.

That's what is so great about being able to record a 13-song album. You can do a very eclectic group of songs. You do have some almost pop songs in there, but you do have your traditional country, story songs. You have your ballads, your happy songs, your sad songs, your love songs, and your feisty songs.

That's what my life is, writing songs.

That's what I've always loved about music, that I could go be another guy for two hours. But ultimately it all comes back to: do you have the songs, can you sing them, do you have a great band that can play them with you? You're charging money to have people come watch you play; I want them to feel taken someplace good or provoked into thinking my way for an hour and a half or two hours. I have been a provoker and I'll probably always be one in the public arena for the rest of my life.

That's what I find with any good song, you just have to let it happen. Out of about twenty songs you might write, one of any significance. It might be thirty or forty, but I just keep churning them out and churning them out in hope that one of them will stick.

That's what I love. Not being interrupted, sitting in a car by myself and listening to music in the rain. There are so many great songs yet to sing

That's why I'm very wise [in] the way I choose the remixes 'cuz I know that the song has to transcend well. You already have a base, instead of me just doing my own production and I don't have to start from scratch.

That's where it begins and ends for me and these songs were the ones that touched me the deepest. It was like I was laying hold of some part of me that I didn't even know was there until I let it out.

That's where the songs come from: that's what I'd most want people to understand. What sounds good or looks good, that's nothing. The only worthwhile thing in art is seeing someone else's heart.

That's why 60,000 people go ape when the Stones play 'Satisfaction.' The songs are part of their legacy, and you fall back in love with them over the years.

That’s why I hate to take credit for the songs I’ve written. I feel that somewhere, someplace, it’s been done and I’m just a courier bringing it into the world.

that voice was a deathless song.

That was my intention, was to have it be from the perspective of my high-school-aged self, and to try and emulate the music that I listened to at that time. So to write essentially like a pop-punk song about musicals. I wanted the dichotomy of the tone of the music with the lyrics and my singing voice.

That was the first sound in the song of love! Scarce more than silence is, and yet a sound. Hands of invisible spirits touch the strings Of that mysterious instrument, the soul, And play the prelude of our fate. We hear The voice prophetic, and are not alone.

That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.

That was the reasoning behind learning to play bass, and then after that it was more like it was neat to play songs together - for me to play bass and for him to play guitar

The [2012 covers album] 2120 [South Michigan Ave.] was different. We covered a lot of classics there. But most of the time when we did it I always prided myself on digging up obscure songs that no one knew of.

The abstract music is just more interesting because it doesn't really have anything to say, but if it is good, it creates thoughts and feelings, and I enjoy that. For me, once the music creates those thoughts and feelings, I begin to write a song about it.

The act of the being in the band has very little in common with writing songs. The songs come out of it, and the band is necessary for the songs to emerge, but the band doesn't exist just so the songs can emerge.

The activity of interpreting might be understood as listening for the 'song beneath the words.

The actualising of God through the medium of the love song remains my prime motivation as an artist.

The actual fund is called "THE JIMMY FUND" and THE REDSOX FOUNDATION IN BOSTON has gotten involved and people all over New England are very supportive of this effort. The Jimmy Fund is an official charity of the Boston Red Sox and my song "Down at Fenway Park" is often played at Fenway and if you buy the C.D. a portion of the proceeds go to the Jimmy Fund via the Red Sox Foundation.

The advice I have for new artists is this - write great songs and play them live as often as possible. Get residencies all over town and crush it.

The alienation effect in German epic theater is achieved not only through the actors, but also through music (chorus and song) andsets (transparencies, film strips, etc.). Its main purpose is to place the staged events in their historical context.

The air is crowded with birds -- beautiful, tender, intelligent birds -- to whom life is a song.

The album is a definite departure. I haven't written original material before, except for one song on my first album, but Elvis and I did six songs together on this one.

The amusements of broadcast consist mainly of songs, stories, and games, just as in tribal life. The songs and stories are mostly about courtship, the games mostly played by men, just as in tribal life.

The architecture of the song, if it's built properly, can withstand all kinds of things.

The answers were maddeningly absent—it was like trying to remember a song that you knew made you feel a certain way, without a title, artist, or even a few bars to bring it back.

The Armstrong record that I personally like the most, is a recording of a song by Harold Arlen called, "I Got a Right to Sing the Blues" . Most of Armstrong's solos tended to stick pretty close to the melody. But for some reason, it's like he let go of the tether and suddenly he's playing this beautiful high, almost abstract line that's floating above the beat. I compare it to the way that a 19th century operatic tenor might have sang an Aria because he's just completely let loose of the background and he's making this magic sort of flying above the staff.

The Astronomer's Drinking Song Astronomers! What can avail Those who calumniate us; Experiment can never fail With such an apparatus.

The artist has to be exactly the opposite [of people singing the song, I've gotta be Me,] and transcend himself as he makes judgements.

The autumn wind is a pirate. Blustering in from sea with a rollicking song he sweeps along swaggering boisterously. His face is weather beaten, he wears a hooded sash with a silver hat about his head... The autumn wind is a Raider, pillaging just for fun.

The attitude is in my personality. It's going to come out in the songs no matter what. If you're pushing the vocal constantly at 10, there's no room for any dynamics. There's no room for any variation in tone. There's no room for anything.