Best 8933 quotes in «song quotes» category

I do notice that my songs fit all over the map, even in terms of the colloquialisms in them. The songs come out with their references intact, almost unheeded by me. It's like they existed somehow before they met me with their relationship to the tradition, and then they just end up coming through me at that moment because of my relationship to some certain kind of music that I've listened to in my life. I know that sounds a little bit woooey.

I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.

I do not see how it is possible for an intelligent human being to conclude that the Song of Solomon is the work of God, and that the tragedy of Lear was the work of an uninspired man.

I do not think men have more talent. There are a great many women in the arts; novelists, painters, sculptors, poets-but the proportion is far lower in the field of song writing.

I do not think I ever opened a book in my life which had not something to say upon woman's inconstancy. Songs and proverbs, all talk of woman's fickleness. But perhaps you will say, these were all written by men.

I do not want a personal relationship with my fans. Or to do anything that encourages them to think they have one with me. They can have a personal relationship with my songs. That's fine, but they don't know me.

I do not think I ever opened a book in my life which had not something to say upon woman's inconstancy. Songs and proverbs, all talk of woman's fickleness. But perhaps you will say, these were all written by men." "Perhaps I shall. Yes, yes, if you please, no reference to examples in books. Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree; the pen has been in their hands. I will not allow books to prove anything.

I do not wanna write a song like 'Coathanger' so Andrew Breitbart can rage against me on his web site. It's not my idea of fun.

I don't ask for the meaning of the song of a bird or the rising of the sun on a misty morning. There they are, and they are beautiful.

I don't believe in, and I am a devout non-believer, in playing new songs live if the subjected and pathetic crowd has not heard them before because I consider it like mass psychosis and genocidal.

I don't believe songs that try to say everything in a simple slogan.

I don't believe in false memories, like I don't believe in false songs.

I don’t care about the rules. In fact, if I don’t break the rules at least ten times in every song, then I’m not doing my job properly. Emotion is much more important than making mistakes, so be prepared to look like a chump. If you become too guarded and too processed, the music loses its spontaneity and gut feeling

I don't care about the rules, if I don't break the rules at least 10x every song then I'm not doing my job.

I don't care how good a song is. If it holds back the storyline, stalls the plot, your audience will reject it.

I don't bother so much about the others' songs. For instance, I don't give a damn about how 'Something' is doing in the charts - I watch 'Come Together' (the flip side) because that's my song.

I don't care if I tell that story and John Roderick gets up afterward and yells, 'I hope you enjoyed the white privilege, mortality comedy of John Hodgman!' That's me!" I'm going to play a sad Handsome Family song at the end and I guarantee you everyone is going to love it because, sometimes, you need a grown man or woman to tell you what you like.

I don't care if it's Bruno Mars or Aerosmith or ZZ Top... it's about songs. 'Paperback Writer,' 'Satisfaction,' 'Cat Scratch Fever,' 'Walk This Way,' all the killer songs in the world start with an identifiable guitar pattern that is basically a bastardization of either honky-tonk or boogie-woogie. And that's in every cool piece of music in the world that you and I love.

I don't care what people say about my relationship; I don't care what they say about my boobs. People are buying my songs; I have a sold-out tour. I'm getting incredible feedback from my music.

I don't concentrate on technical things like where a microphone is placed and things like that. As a producer, I try to keep the initial feeling from when I first heard a song and make sure we do what were initially aiming for.

I don't care what studio I'm in, I don't care what producers is producing it and I don't care what song it is because they taught me those things I feel so protected wherever I go as far as music.

I don't care who you talk about down south, Boosie gonna win. I'm the only one to put out a whole album, with more songs, so I don't care who said what. The fans tell the truth. I got real fans - more fans than everybody, so Boosie gonna win [in Hip Hop Survivor: Down South Edition.].

I don't determine the singles. I believe the record company sends a bunch of CDs out to people that they trust in the business, and wait for their response to determine which songs will become singles.

I don't consider myself very principled. As a travelling musician, you have to adapt and adjust to different contexts every day. It is always difficult to connect preach and practice. For instance, I fly more in a year than I had hoped to do in my whole life. I eat what people serve me, not what I think is right. I tried writing songs that were principled, but always ended up contradicting myself when trying to convert the principles into practice. In fact, these days I try not to be too principled, but rather be pragmatic.

I don't do filler songs. I don't get them. They don't make any sense to me. Why would I literally waste my time on a song that doesn't hold up to the same standards as the other songs on the album? I won't play it live.

I don't enjoy "Dust in the Wind"as much. But I do enjoy "Song for America," "Carry on, Wayward Son," and many songs- Kansas is really a drummer's dream to play in. And I like 'em all.

I don't ever try to anticipate my audience. I just write the songs I want to write, and hope people like 'em.

I dont ever try to make a song better than my last song. I just try to make it different from my last one.

I don't feel like I have a lot of reference to sexual innuendo on my songs.

I don't feel super attached to a certain time when I hear the music. Some of the songs I still play live and, through that I feel like I've been able to have it move with me through my life as opposed to being just a little piece of time.

I don't feel any obligation to make my intentions for a song accessible to a listener or an audience. I'm not interested in conveying anything to them so much as what's best for me.

I don't feel comfortable doing interviews. My profession is music, and writing songs. That's what I do. I like to do it, but I hate to talk about it.

I don't feel I have to write deep and meaningful songs; they can be light and meaningless. It has to do with the place I am in my life, a really good place.

I don't find the songs; they find me. I just strum my guitar and wait for a lyric to come.

I don't get mad with people, like, 'Oh, but that's not what the song was about...' It's also nice to know that people are mindlessly dancing to a song about the US Government's stance on same-sex marriages... especially straight jocks. I love that idea. I think that's the beauty of music - it's different for everybody.

I don't force it. If you don't have an idea and you don't hear anything going over and over in your head, don't sit down and try to write a song. You know, go mow the lawn...My songs speak for themselves.

I don't get boy bands these days. Thye don't write their own songs and everything is choreographed from their dance moves to how they have sex with each other after the show.

I don't go into any album with a concept or a deliberate direction. It's more letting the best music that really appeals to me at the time, the best songs that I find after many months and years of search and sifting through my collection, and asking radio people and journalists. It's really an ongoing search that's as much daunting as it is somewhat exciting.

I don't have a favorite song that I've written. But I do have a favorite song: 'Always on My Mind,' the Willie Nelson version. If I could sing it like he do, I would sing it every night. I like the story it tells.

I don’t have a problem baring my emotions in music. That’s one of the reasons I’m glad to have music in my life. I’m pretty resilient as far as being a human being. A lot of songs write themselves.

I don't have a nice singing voice! Particularly if I've had a few beers, that's when I'll get up and go on the karaoke. I'll usually try to murder a Frank Sinatra song like 'My Way'. In my head I sound exactly like him, but when you watch the footage back, evidently not!

I don't have too many plans filled out. I know I want to keep doing more music. I've got a couple of albums worth of songs I'd like to put it out there. As far as movies, I just want to continue how I've been doing it: working with terrific people is certainly on my agenda, and then doing stories that interest me.

I don't have to worry about any pop sensibility. I can write adult songs, and I don't have to worry about choruses and hook lines.

I don't keep a journal anymore. I did when I was a teenager, but now because I write about it all in my songs, that's what I'm really doing.

I don't have a special place or ritual for writing songs, basically I write songs whenever an idea hits me, in my hotel room, on the road, in the plane.

I don't have many easy songs.

I don't have time to sit up and write songs all day. Maybe one day when my kids get older.

I don't hide anything about my life, I talk about everything. I talk about it - all kinds of things. I've done songs about bad experiences, a couple about growing up in the ghetto and being abused, sexually. Being raped. And I talk about it.

I don't keep up with a lot of trends. I've never been a fashion horse. I'm so busy writing my songs, trying to maintain my business, and all the new things that come along. I stay working all the time.

I don't know anyone who has described that terrible yearning for ecstasy and immolation through music as lucidly as Sean Madigan Hoen in Songs Only You Know. Only a thorough initiate of the scene who also had some genius with language could summon the demotic yet electric voice for the job. If there is ruefulness, now, for the way he treated his body, his girlfriends, and his family, he wisely reprises in his book, in neon detail, the fever that once placed him in the same drunken boat with Iggy Pop, Rimbaud and Artaud.