Best 8933 quotes in «song quotes» category

I was raised really strongly on The Beatles; they were huge in my family, my parents loved them, and they used to quiz me on who was singing which song, and we'd play certain records for certain events, and things like that. So I mean, they were sort of my introduction to pop music.

I was probably about fourteen I think, and probably like every boy who's fourteen that writes a song, it was about a girl. It was about a girl who I really liked, but she didn't like me as much as I liked her. I think most guys go through that.

I was quite surprised when I started looking at the lyrics for 'Punk Prayer'. Given its brutal style, I did not expect the lyrics to be so well written and thought through. But the more I understood of it, the more I realised that this was not only a protest, it was brilliant art as well. So I decided I would try to strip away the layers that made me sceptical in the first place, and focus on the desperate beauty Pussy Riot have conceived in this song.

I was reading a Time magazine interview with an author named Brené Brown. She said, "People that fail seem to ultimately do the same thing they think works over and over again." I had an epiphany and called my manager and started a creed with my producers. I promised we'd do whatever was best for the song and the album - no ego would get in the way.

I was singing a lot of waltzes. And I was with Jerry Kennedy, my producer, and he was playing me some songs, and he said, hey, I want to play you this song that I'm going to get Jackie Ward to record.

I was sixteen, I became a working guitar player gigging in LA, mostly in top 40 bands, then touring. I learned to take songs apart, down to their bones. Songwriters would hire me to produce their demos, which lead me to become a songwriter. The relationship and power music has to TV and film attracted me to composing [and] I learned to write for instruments other than guitar.

I was really kind of miserable with myself personally and all of the things that you can be creatively, until someone said - and I don't know what about it made it click at this specific time - but they said, "You're not 18 anymore, and you're not writing songs in your old bedroom. It's work. You should get up every day and set a perimeter of time and start compartmentalizing your life.

I was so nervous every night that I had to really focus and keep myself in that moment so that I would not forget the words. I was really present for every song.

I was starting to play the ukulele at the same time I was having all these conversations with [the late Ramones guitarist] Johnny Ramone, these intense tutorials staying up late and listening to the music he grew up on, and picking up what's a great song and what makes a great song. He was all about lists and dissecting songs, like what's a better song by Cheap Trick: "No Surrender" or "Dream Police"? Sometimes you'd be surprised by the answer. It was an interesting dichotomy between hanging out with the godfather of punk rock and starting to play the ukulele. They came together.

I was sort of like a kid in a candy store, realizing it was fun making beats without the perceived burden that every track I did had to be a some progressive sample masterpiece. It was nice to blow off steam and work on those songs. For me, that’s what 'The Outsider' was about in general: forget everything, I’m just gonna follow my own music, and make the music I want to make.

I was sort of retired, you could say. During that process, I was recording here and there. I put out several songs expressing myself to the fans and letting them know of my whereabouts and what I was doing. I gave them insight into my situation. To my surprise, the fans have been very supporting and understanding.

I was the drummer in a band called Hemsworth for a brief stint, too - it was not very great. I didn't even write the songs, but the band was named after me.

I was the boy who liked to sing his own songs at talent shows, and I was suddenly officially uncool.

I was thinking a little bit about this very thing - poetry and music - the other day when I was listening to Lucinda Williams. The way she sings is very emotive, and there is a kind of drag to her articulation: she sings behind the beat, sort of like she's being pulled along by the song a little, or is in resistance to it.

I was thinking of the Four Seasons, Frankie Valli and the Four Seasons, and when I was thinking "Uptown Girl!" I was trying to sing like Frankie Valli. They had a song called "Ragdoll," which was about a poor girl and a rich guy. So I just flipped it around and made it about a rich girl and a poor guy.

I was truly thrilled when Alex-Zsolt played for my tribute concert titled, 'A Tribute to Richard M. Sherman.'  This special concert event was held at Disney's Historic El Capitan Theatre in Hollywood, CA.   Alex was great and he played my songs very musically and in supercalifragilisticexpialidocious style!

I was tired of my lady, we'd been together too long, like a worn-out recording of a favorite song.

I was trying to write a song based on a story in a random book of Puerto Rican short stories that I found in a thrift store. I thought it was really dark, and so I tried to interpret it. I've always been interested in writing from other people's perspectives and other gender perspectives.

I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.

I was trying to learn how to deal with the freedom that I had away from home for the first time. 'Long Black Train,' the song and the album, are very special to me. It was just one of those things that I felt like God gave to me for a purpose, and I've been out here promoting that purpose.

I was very conceptual about what I was doing; I had the first five albums planned out, and all the songs on every album, and the artwork. I always had these ambitious musical projects in mind.

I was wanting to do an album but I didn't know if I was really ready. Jerry Wexler was one of my closest friends and allies, like my godfather. He said, "Let's do an album." I couldn't sing worth a damn, but there were some good songs.

I was writing music when we finished the last Walkmen record, Heaven, and a few of these songs may have even been started before Heaven was done. With The Walkmen we all wrote a lot of stuff alone, but then we'd start collaborating with each other.

I was writing songs because I needed them, songs about trusting God in difficult circumstances.

I was writing with different people in Nashville - whoever I could. Eddie Hinton came on the scene about 1963, and about four years later we wrote a ton of songs together. I drifted around, but Eddie and I had some cuts through the '60s and '70s. I went on the road with Kris Kristofferson in 1970.

I was working with Toby Gad, who spent a lot of time in India. There's a sitar [in "Body Shop"] and the song has a very Indian flavor to it. I liked the idea of the body of a car as a kind of sexual metaphor - What you do to a car, what you do in a car - drive. So, lots of innuendos, and lots of fun.

I was writing a lot of true love songs-true love almost gone wrong but saved at the last moment...Many of the best songs get written in a state of abject misery. I prefer to write fewer songs and have less cataclysmic events in my life...Some hit songs are really stupid, and who knows why they're hits. But a lot of hit songs are really good.

I was writing songs as a kid about leprechauns and Catwoman and teapots - whatever it is that little girls wanna sing about.

I was very impressed with Hanson's performance. I thought that little drummer was a kick-ass drummer, and uh, that they sang great, I mean I didn't know either, y'know, that these little boys, y'know, I was very impressed. I think they'll probably be around in 20 years writing good songs, and being a great band.

I was wildly out of style when that television theme song suddenly pushed its way onto the Top Ten. It was certainly not the record company trying to make that happen.

I was working for Alan Lomax in the Library of Congress folk song archive, and starting to realize what a wealth of different kinds of music there was in this country that you never heard on the radio.

I was writing songs as a kid about leprechauns and Catwoman and teapots - whatever it is that little girls wanna sing about. The first song I wrote was called "Kitten." It was about a boy named Liam, who I was just crazy about.

I watch videos on YouTube of bands that I've heard of that I want to check out. And sometimes I don't even finish the video. And that's really sad, because maybe I'd like that song. I think that we don't give stuff a chance to really sink in.

I watched a rose-bud very long Brought on by dew and sun and shower, Waiting to see the perfect flower: Then when I thought it should be strong It opened at the matin hour And fell at even-song.

I went back and listened to the first three albums I made and tried to figure out what was special about them, why people keep going back to them. I think it was because I didn't know what I was doing. I had no idea if they were going to play it on the radio or anything. All I did was write songs, so that's what I got back to.

I watched their reactions and emotions, especially to understand what was what I was doing wrong. But then I realized that if I could see these people and take note of everything I saw, I could write a good song.

I watch movies and hang with my family, go shopping, love to cuddle with my dog, Happy, & write songs with my guitar!

I watch artists say they wrote all these songs and don't mention anybody else who was involved, and that's fine. I don't expect an artist to give me credit. I know that they're gonna take the credit for everything. But, it's my job to give myself that exposure and not make excuses, not grow bitter.

I watch everybody every night, from sitting down to being on their feet at the end, and I feel a sense of reinvention, of caring, presenting these songs in their purest form.

I went mainstream in a major way with the song "Let's Dance." And what I found I had done was put a box around myself. It was very hard for people to see me as anything other than the person in the suit who did "Let's Dance," and it was driving me mad - because it took all my passion for experimenting away.

I went on iTunes and looked at versions of Christmas songs. Everyone has done them!

I went on tours with [Bob] Dylan - the big one was in 1975 and called Roaring Thunder Review. I knew him well because I met him around the time he did his second album, in 1963. He recorded one of my songs called Shadows. In the 1970s, it was suggested that we do a duet, because we had the same manager, Albert Grossman, who also managed Odetta and Peter, Paul and Mary. Dylan and I respected what each other did, but I just decided not to do it.

I went to a radio station on Long Island in 1982, and thank goodness for me, it was so new that there was no receptionist. So the DJ opened up his booth, and took my tape and listened to it and thought it was a hit song.

I went to Brazil in 2010 and pretty much did songs about that trip. I was there just to hang out, chill with the people, and feel the vibe. It was great - tons of great women, great skin, good beaches. Cant complain; the food is great.

I went to Morocco, joined a band called Pegasus, ran out of money, went to Gibraltar and worked on the docks, writing songs about the sun and the morning and the birds.

I went to New York and Miami and hung out by the beach, and I love the American boys, so I wrote a song about it.

I went to see 'Listen to My Heart: The Songs of David Friedman.' I have been a fan of his music for years, and I was invited to opening night because I know one of the producers.

I will always believe in love and I don't care what happens to me or how many times I get my heart broken, or how many breakup songs I write, I'm always going to believe that someday I am going to meet somebody who is actually right for me and he's going to be wonderful and it's going to work out.

I will always really work hard to write as much as I can, but I also love sitting back and waiting on those big Nashville songwriters to send me some great songs, too.

I will be gone from here and sing my songs/ In the forest wilderness where the wild beasts are,/ And carve in letters on the little trees/ The story of my love, and as the trees/ Will grow letters too will grow, to cry/ In a louder voice the story of my love.