Best 8933 quotes in «song quotes» category

In fact, many musicians are the happiest when the artist and audience re-interpret or re-imagine the content of the songs.

In fact, on a side note, after the success of the first record, I got asked to write for some pop artists, as everybody does, and I did a couple songs for some of these massive stars and the review that I got back was, "This artist likes the song but it's too POP-y for them." I was like, "What do you mean, I thought I was writing for a pop star.

In folk music, I've always been fond of the fragment. The song that has one verse. And you don't know anything about the characters, you don't know what they're doing, but they're doing something important. I love that. I'm really a sucker for that kind of song.

In Genesis we saw ourselves as song-writers. After Peter Gabriel left I was the first to say: 'It's OK - we can just do instrumentals.'

In high school, I was Mr. Choir Boy. I had solos, I was helping out the tenors with their parts and our choir teacher would ask me what songs we should do.

In high school no guys wanted to be in a band with me unless I was going to play bass or play grindcore or be in a scream-o band, so it was fun to finally have that experience of having my songs backed by a drummer and a bassist who were just as excited about it as I was.

In hip-hop, I wasn't very focused on delivering a message. It was just a string of lines that didn't connect. What I wanted to do is write stories... and affect someone's emotions with that song. I think as a soul singer, I'm able to accomplish that.

In high school, some of the guys were really into music. When I first joined the team as a sophomore, I was blown away when we came out for our first home match—I'm getting goose bumps just thinking about it. The seniors would bring their whole stereo system. We started by yelling and stuff inside this little room just off the gym; then the coaches said, "Ready. Go!" We threw open the door and came running out. Even when I hear the songs now I get all jacked up.

In green old gardens, hidden away From sight of revel and sound of strife, Here I have leisure to breathe and move, And to do my work in a nobler way; To sing my songs, and to say my say; To Dream my dreams, and to love my love; To hold my faith, and to live my life. Making the most of its shadowy day.

In Homer and Chaucer there is more of the innocence and serenity of youth than in the more modern and moral poets. The Iliad is not Sabbath but morning reading, and men cling to this old song, because they still have moments of unbaptized and uncommitted life, which give them an appetite for more.

In Hungary all native music, in its origin, is divided naturally into melody destined for song or melody for the dance.

In honor of his new Nobel, this hard-core Dylanophile wants to share with you a song or two from each of his many incarnations. Because you deserve to know.

Initially, in starting to pick the songs for the live show, it was really a matter of picking songs that I loved over the years. As far as the album goes, it happened very naturally.

Initially, when I was first starting as a musician, I was a very nationalistic figure and I used to believe in doing a lot of national songs. I would always have a national song in the albums I did.

In law also the emphasis makes the song.

In Middle America men are awakening. Like awkward and untrained boys we begin to turn toward maturity and with our awakening we hunger for song. But in our towns and fields there are few memory haunted places. Here we stand in roaring city streets, on steaming coal heaps, in the shadow of factories from which come only the grinding roar of machines. We do not sing but mutter in the darkness. Our lips are cracked with dust and with the heat of furnaces. We but mutter and feel our way toward the promise of song.

In mid-wood silence, thus, how sweet to be; Where all the noises, that on peace intrude, Come from the chittering cricket, bird, and bee, Whose songs have charms to sweeten solitude.

In most of my films I write the music into the script. I'm listening to songs and lyrics that empower the themes of the film. There's a lot of Indigenous music that has not been heard widely and I love the idea of giving that music to the rest of the world.

In most cases, my favorite Jethro Tull songs will be determined by how I feel about them as live performance songs, not by the recorded identity.

In my banjo show with the Steep Canyon Rangers, I do do comedy during that show. It'd be absurd just to stand there mute and play 25 banjo songs.

In musical theater, if you have a song, it has to advance the plot. If you have a song in a musical and it does not advance the plot, it gets dropped.

In Moulin Rouge, Baz Luhrmann takes the most thrilling moments in a movie musical-the seconds before the actors are about to burst into song and dance, when every breath they take is heightened-and makes an entire picture of such pinnacles.

In my first bands I was a singing guitar player, but if you heard any of those songs you wouldn't describe me as a singer. But I can make it work.

In my opinion, there is a huge lack of imaginative, unconventional music being created by artists today and what little there is, goes widely unappreciated by the masses. 'Port Blue' is my attempt at re-creating the music I want to hear and the emotions I want to feel." "If by chance you ever feel as though you’ve come to know these songs, please consider yourself a friend because in a manner of speaking, you know me. This music is my heart and soul. This is who I am." (Adam R. Young, 2006)

In my opinion, poets talk through the symptoms of disease. These symptoms of disease are predictions, screams, and songs.

In my particular instance, I came from a family that didn't have anything. Everything I earned in life I made. Myself. With songs that I wrote.

In my opinion, I think sarcasm and humor in a song, without turning it into a novelty song, is really charming.

In my world, history comes down to language and art. No one cares much about what battles were fought, who won them and who lost them - unless there is a painting, a play, a song or a poem that speaks of the event.

In my songs, I'm not saying something that's never been said before. The have lyrics aren't going to blow people away. It's the emotion and the melody that drive it home.

In my song you catch at times Note sweeter far than mine, And in the tangle of my rhymes Can scent the eglantine.

In my songs there's a lot of intimate, personality - driven, sweet singing, and that's the kind I actually love the most, as close to how we speak as possible.I do get to do the crazy high notes, of course. But that's also a part of me. I'm full spectrum. A vulnerable side and a side that wants to kick ass.

In my songs, the sex is all subliminal. It's subliminal, spiritual.

In nature everything is valuable, everything has its place. The rose, the daisy, the lark, the squirrel, each is different but beautiful. Each has its own expression. Each flower its' own fragrance. Each bird its' own song. So you too have your own unique melody.

In New York I heard A Piece of Ground, written by a white South African, Jeremy Taylor. I modified it a little and sang it myself. That song is very special to me because it deals with the land question in southern Africa. We were dispossessed of our land.

I no longer really have faith in the album anymore. I no longer have faith in the song.

In order for music to free itself, it will have to pass over to the other side - there where territories tremble, where the structures collapse, where the ethoses get mixed up, where a powerful song of the earth is unleashed, the great ritornelles that transmutes all the airs it carries away and makes return.

In one of my songs, in the song on the "Why?" remix that I did with Jadakiss in 2004, I said, "Why is Bush actin' like they tryin' to get Osama? Why don't we impeach him and elect Obama?" This is in 2004 on the "Why?" remix and I said that because I really had belief that Obama was the right person to be president

In Othello, Othello kills Desdemona, but no one reads that play as a model for their own behavior. In Lou Reed's case, you're listening to a song, and in my case you're reading about a life. Like Lou, I trust my audience to make their own moral determinations.

In order to make a normal-sized record, a singer songwriter should have a couple dozen finished songs. Once they go through the process of production, the ones that scream out at you that they're finished are the ones that make the record.

I noticed with older songs that I perform that I'm coming from a different place with them now...it mutates the vibe and even the meaning of the same words when you have a different spirit, if the person singing is different. I like that, to be able to sing an emotionally wrought song from a more centered place, or to sing an eager, youthful song from a more experienced place. It kind of colors the songs differently, and it keeps them fresh.

In poor environment, I find great inspiration. Many of the men and women whom I admire as artists, the things they write, the songs they sing, the admission is filled with inspired moments to overcome oppression.

In pop or rock you can make a fast song or a slow one, but in disco there is really just the one rhythm.

In real life, I'm such a dorky, happy person. I express myself in three ways: I talk a lot, I write songs and I get tattoos.

In real life, I am emotionally confused, which enables me to write songs. I'm a Pisces, and they say that Pisces are very sensitive. If men were just honest with themselves, they would see that they all have that side.

In Prison Wearily, drearily, Half the day long, Flap the great banners High over the stone; Strangely and eerily Sounds the wind's song, Bending the banner-poles. While, all alone, Watching the loophole's spark, Lie I, with life all dark, Feet tethered, hands fettered Fast to the stone, The grim walls, square lettered With prisoned men's groan. Still strain the banner-poles Through the wind's song, Westward the banner rolls Over my wrong.

Insanity laughs under pressure we're cracking Can't we give ourselves one more chance Why can't we give love that one more chance Why can't we give love Cause love's such an old fashioned word and love dares you to care for The people on the edge of the night And love dares you to change our way of Caring about ourselves This is our last dance This is our last dance This is ourselves Under pressure

In reggae I have a model of artistic excellence and possibility that is challenging and inspiring. The poem remains a demanding thing - an object to be understood and shaped into my own sense of self, the same is true of the play, the novel, the short story. Yet, for some reason, I approach these existing genres with the kind of confidence that the reggae artist approaches any song floating around out there.

In some ways, I've always approached singing as acting, and the voice is just like a way of carrying the song.

In Shanghai, I saw great contrasts. On one street there would be impressive shops selling copies of the latest word in glamorous European fashion, and around the corner on a back street there were poor families crammed into one room with a naked light bulb. One evening I heard a Chinese family singing "Happy Birthday." It was weird. You would have thought that they'd have their own happy birthday song. Every dominant society in the world - whether it's French or British or American - imposes its culture on less developed societies.

In so many of my songs, I'm trying to touch on various aspects of love.