Best 8933 quotes in «song quotes» category

It's a mystical quality of music, that music isn't really concrete, and it's communicating abstractions about imaginary worlds. At least, my music's like that. It's not real. It's unreal, it's all fabrication. To write a song about Obama would suddenly break the spell.

It's a pretty crazy thing in which I tried to make songs, real songs, not the quick stuff like on a tape. A dose of Kendrick Lamar, a dose of J. Cole... because it's got to be an album that goes [in the] club.

It's a really big struggle for me to write a song. Songs take either 30 seconds for me to write or a year or two to piece together, depending on the song and how I'm feeling on any given day. I don't really like to write music at all unless I am completely unbothered by touring.

It's a really fun hobby to set imagery to music, and finding the right songs for that. Your favorite song in the world might not work at all... for one reason or another.

It's a real gift to be able to have the works of brilliant, great people to learn from and build from. It gives you so much more to draw on, and then you don't have to be all about three-chord pop songs. I don't really like that kind of writing.

It’s a rule that we never listen to sad music, we made that rule early on, songs are as sad as the listener, we hardly ever listen to music.

It's a powerful thing hearing your friend on a very beautiful song.

It's a really common trap to want your life to live up to some standard that you believe in, and then you start to really examine those standards and realize they come not from experiences you've had, but things you've seen in movies, or feelings you've felt listening to pop songs, or ideas you've received from reading books. And not just happy things, but a lot of the time, sad things. It gets kind of depressing, when you see how movies and songs make these promises to us.

It's a simple formula for me now, I don't play any song I don't want to play.

It's a template record for the intersection between pop and noise, starting out with 'Sunday Morning' - a real beautiful, almost innocent sunny day song. You have a lot of different types of things on one record. It can be really pretty, or it can be really awful inside, depending on where your head's at at the moment. I got it in ninth grade and I think I've listened to it every month since then.

It's as simple as finding something on the street and then writing a jingle. If I'm driving and I have my turn signal on and it's rhythmic, maybe I just write a song to that.

It's a unique thing to stand in front of a crowd and sing your songs.

It's basically me saying to the industry that I won't work within the walls in hip-hop. I want to put a twist on things, and that's what that song is all about. It's about putting a twist on stereotypes.

It's become uncool to play other people's songs, and that's absurd. It has got to change. It's the reason why everything's so mediocre.

It's cool when your husband starts to sing some old Merle Haggard song and I can pop in with a harmony and it doesn't sound too bad.

It's cool that you hear something, but what did you feel and what was your tactile and kinesthetic response to it? Those songs and creative sessions mean the most.

It's better to find a composition through an instrument and to play it and record it because you have something. It's a composition, and the song is good. It lives as a song. The worst is when you have a song and nothing is working well when you produce it. It's not like what you expect in your imagination. It's the worst because it requires a lot of work.

It's different obviously with a song when you're talking about narrative, you're talking about the verse leading into the chorus or whatever it is, but you have to have a sensibility of how something would flow either way.

It's different," you said. "You've made, Min, everything different for me. Everything's like coffee you made me try, better than I ever - or the places I didn't even know were right on the street, you know? I'm like this thing I saw when I was little, where a kid hears a noise under his bed and there's a ladder there that's never been there before, and he climbs down and, it's for kids I know, but this song starts playing..." Your eyes were traveling in the treey light.

It's difficult to see how it's possible to become immensely valuable by singing what are the most hideous songs.

It's dedicating yourself to your craft. Spending thousands of hours in a studio learning how to write a song, learning how to play different chords, training yourself to sing. You know, to get better and better.

It's easiest to write songs when I'm either really in love or really mad at a guy. It's just always best when I'm feeling superemotional.

It's easy to fight when everything's right And you're mad with the thrill and the glory; It's easy to cheer when victory's near, And wallow in fields that are gory. It's a different song when everything's wrong, When you're feeling infernally mortal; When it's ten against one, and hope there is none, Buck up, little soldier, and chortle!

It's easy to get into an easy routine but the problem with that is you can tend to write the same song over and over again.

It's easy to record songs. Anyone can make a track on garage band. I've been on the search to find that incredibly authentic place of sound and intention that only I can bring. Everyone has their own expression. I'm still on that quest and I hope to always be.

It seemed a place where heroes could fitly feast after victory, where weary harvesters could line up in scores along the table and keep their Harvest Home with mirth and song, or where two or three friends of simple tastes could sit about as they pleased and eat and smoke and talk in comfort and contentment.

It seemed like an impossible task to do full justice to all Luther classics. And yet these landmark artists have done just that. Memorable performances of wonderful songs that ensure Luther's legacy will live on forever.

It seems to me, sorry seems to be the hardest word.

It seems to me like the Internet allows you to break that structure a little bit. You know, here's your CD that's going into stores, here's your EP that you offer online, here's a subscription for songs you recorded on the road, here's your live stuff streaming.

It seems like songwriting for most songwriters is only one season in their life, a five or ten year period. For me, I don't worry about it, but I know there might come a day when I can't write anymore, or don't have good song ideas or the fire to do it anymore.

It seems to be really trendy to get excited about a random-ass radio song. Which, I like radio songs, don't get me wrong. But I'm just confused at which ones seem to be heralded as some sort of genius-like concoction. It doesn't totally make sense to me.

It seems to me that the American popular song, growing out of American folk music, is the basis of the American musical theater… it is quite legitimate to use the form of the popular song and gradually fill it out with new musical content.

It seems to me that those songs that have been any good, I have nothing much to do with the writing of them. The words have just crawled down my sleeve and come out on the page.

It's funny because my main awkwardness around writing the song had little to do with the method.

It's from being melancholy and having my human down experiences that I learn, that I overcome, that I transform - and these realizations I put into song. That's what I choose to put in my backpack and carry with me around the world.

It's funny because if you ever ask anyone in England to try and do a Beatles accent, no one knows what they really sound like. If you ask anyone in America, they would try and give it a go. English people just know their songs.

It's funny, when I'm not on the road or doing stuff with Bad Company - or whatever- I've always written songs galore... a lot of stuff people don't even hear.

It's funny when you start writing an album and then recording - the songs begin to take on a spirit of their own. Once you start to perform it live, this happens even more so than in the studio. They really start to develop a personality that takes shape over time with the audience.

It's fun having songs about parties and gigolos, but I really wanted to use my music as a form of art. Art is supposed to spark conversation and make people think, and I wanted to do that with this song

It's fun hitting on the drums and singing songs.

It's funny because you do often read in recounts of very famous albums, people tend to focus on mistakes in really positive ways, and there's certain mistakes of my own that I always do find on every record that I needed to accept. I find it really interesting to talk about. I always write songs at the wrong tempos, and I have to learn to accept that a little bit.

It's funny when you write a song - it's easy for me now - but there's almost a second stage where you take control of the song. You start writing it, and if you're not careful, it just finishes itself and it might not be what you wanted. It's very strange, it takes over itself. It has its own life.

It's fun to sing sad songs. And it's fun to listen to sad songs. Enjoyable. Satisfying. Something.

It's good having a lot of different songs to choose from to do the show. It means you don't get bored of doing it in one particular genre.

It's fun to look backwards and be like, "Oh, this song never really worked live before but now it will sound cool with this lineup.

It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

It's got to be hard to be a band that's trading on your 40-year-old hits, where there's a certain thing that's expected of you. But that's why I admire Bob Dylan's live performances - he's steadfast about mixing up the songs, not just sticking to his greatest hits, and reinterpreting them to the extent that you really can't recognize them until halfway through. It's like, I DARE you to sing along.

It's fun to play characters in songs. I can just cheat a little bit... be this person for just a small amount of time and just help vent that idea.

It's going to take a lot of love to make things work out right.

It's good to have some kind of California in there. It's almost always appropriate. It's appropriate on a sunny day or late at night. If you grew up on the Grateful Dead, which I certainly did, you listened to 10 million bootlegs. But you realize that American Beauty has some really tight, well-arranged songs that aren't meandering.