Best 8933 quotes in «song quotes» category

If and when I do get "down," the last thing on my mind is writing a song. Usually, being bummed just involves lying around on the couch and taking the bad weather personally. I only write songs when I feel good - or at least something approaching "good.

If a man knows the law, find out, though he live in a pine shanty, and resort to him. And if a man can pipe or sing, so as to wrap the imprisoned soul in an elysium; or can paint a landscape, and convey into souls and ochres all the enchantments of Spring or Autumn; or can liberate and intoxicate all people who hear him with delicious songs and verses; it is certain that the secret cannot be kept; the first witness tells it to a second, and men go by fives and tens and fifties to his doors.

If anything, my problem is, I'm not a genius, it's just that I can write songs very quick. I have a lot of ideas, let's put it that way - I have too many ideas. And my problem is, I stockpile ideas and I get lazy and I don't finish them, and next thing I know, I'm looking around and I've got a hundred song ideas, but are any of them any good? I don't know.

If any of you on your journeys see her-shout to me, whistle...he sang, and it became a habit for audiences to shout and whistle in response to those lines. There was nowhere he could hide in such a song that had all of its doors and windows open, so that he could walk out of it artlessly, the antiphonal responses blending with him as if he were no longer on stage.

If a song is funny and absurd, and it sounds great, it's just going to be that much funnier. And there's no better example of that than 'Monty Python.'

If a song is cooking in the studio, that's great, but if I can imagine doing it on stage, that's the next level to me. ... Some people love paintings, and some people love poetry, and of course I love all of that, but when a musician is so in control of her instrument, I'm in awe. That's when I start to kind of evaporate into the universe.

If a slave were to raise his voice to his master, he risked all manner of punishment. Yet what was possible in many circumstances was to lift one's voice in song. This was a major ingredient in what is now known as blues and gospel. Slaves may have been regarded as subhuman by their cruel captors, but through music, they were proud and dignified.

If at noon you sit down and there's just silence or blank tape, in an hour if you have a song, that didn't exist an hour ago. Now it exists and it might exist for a long time. There's something empowering about that.

If, as we have said, we commemorate each of the saints with hymns and appropriate songs of praise, how much more should we celebrate the memory of Peter and Paul, the supreme leaders of the pre-eminent company of the apostles? They are the fathers and guides of all Christians: apostles, martyrs, holy ascetics, priests, hierarchs, pastors and teachers.

If a thing can be said in ten words, I may be relied upon to take a hundred to say it. I ought to apologize for that. I ought to prune, pare and extirpate excess growth, but I will not. I like words—strike that, I love words—and while I am fond of the condensed and economical use of them in poetry, in song lyrics, in Twitter, in good journalism and smart advertising, I love the luxuriant profusion and mad scatter of them too.

If certain songs become popular enough to the point where I'll be playing them the rest of my life, I don't want them all to dwell on the same down moment that I'll have to keep reliving.

I feel a lot more comfortable being me these days. I'm constantly told that my work is good. A lot of fans and a lot of other artists say my songs and albums mean a lot to them. Isn't that what's important?

I feel fortunate that I've had a lot of songs recorded by other people, because I take my songwriting very seriously. It's only those people that have followed me over the years and really know my work that know how serious I am about all of it - including the way I look. You can't take my high heels from me, you can't have my long fingernails, you can't take all this hair from me, because it's part of this thing that I've become. I wouldn't want to give any of it up. Do I have to be ugly to be a songwriter? This is the way I am, and it's what I choose to be.

I feel guilty because I want to act more than I want to write songs. I'm a person who likes to transition; I like to grow.

I feel I have a responsibility to myself, a responsibility to explain where we're coming from. Because a song or the performance of a song is a lot like a work of art.

I feel like a lot of people look at pop music with a very formulaic perspective in numbers and patterns, but an outsider would think that the process is very natural. It is, but there are a lot of times where people treat it like a sport - there are tricks you can pull, different combinations that make something better. I don't really think I approach it that way, but I definitely have a love for the science that is pop song writing.

I feel like a lot of the singer-songwriters in my genre and in my generation have gotten more and more snooty about covering other people's songs. They believe that creativity is the intersect of expression.

I feel like all the songs are little scenes, different angles, of the feelings that come around something ending.

I feel like fans who like old Southern rock and country, and more lyric-driven songs in general, have come to country radio. I think that's why you see country radio growing and albums selling: People are craving a little more of the singer-songwriter stuff going on in country.

I feel happy about the songs I've written. I'm a great lover of the craft of songwriting, and I sure admire it in other people when I see it - past and present. I feel comfortable with what I have accomplished. I feel happy to be able to work in that environment, and that I have a lot of songs left to be written, somewhere.

I feel like humans are a disease. It's a hard thing to communicate in a pop song. I mean, who wants to hear that?

I feel like I'm really accomplishing something with harmony and melody. Ultimately, again, I'm not a singer, some people can sing with an "I" or an "a," some people can sing and they can sang. I think I can "sang" more than anything. I'm not a formal singer and I'm an MC, but it's secondary to the second nature of just melody. You know but ultimately I'm a writer and I do soul music. Whether it's in song form or rhyme scheme, it's soul.

I feel like I have a pretty eclectic taste in music and art, so for every song I can see a different kind of video.

I feel like I've spent the last five years of my life on the road. It hasn't affected my songs but it's probably affected everything else about me. Obviously, the more you travel, the wilder the things that keep happening to you, the more likely it is you'll get complete strangers knocking on your hotel room door.

I feel like I want to write some songs and I don't know how to go about doing it. Usually it's the lyrics that are a problem, and I think I am not really cut out to be a lyricist.

I feel like once the song is done, you put it out there and if people want to do bizarre remixes, if people want to make strange videos, great. You know, like chaos theory applied to the music business.

I feel like the actual, the most beautiful thing about a song is that it is something that goes out there in the universe and people use it in the way that they need it in their lives.

I feel like the songs that I write are best when they are performed by an ensemble, rather than by one solo instrument.

I feel like there's no subject that can't be sung about. I wrote a song dedicated to people with inflammatory bowel disease, and then I wrote about shoes. And mangoes. Every rock should be turned.

I feel like tiny bird with a big song!

I feel like people, when it comes to music, whatever genre, they relate to the story more than just the song.

I feel like the inspiration is that I've managed to change my songwriting over the past couple of years and also production styles. I could get a sense of what really worked well, and I think this sound developed naturally. That's what happens when you're doing it all the time and changing as a person. Some songs were really dark, and others were more psychedelic. It was useful to have that to figure out exactly what I wanted to do.

I feel like my music is just an extension of my acting. I treat the songs like scenes that tell a story... it's very similar.

I feel like my songs are very relevant and very meaningful, but I literally have to get rid of the nostalgia for shows because I would just be mess on-stage otherwise.

I feel like 'Next To Me' is a great introduction because it's a simple song that has a simple message for me. I wanted to introduce something that lyrically I'm proud of and introduces me both as an artist and as a writer.

I feel like my songs are like diary entries for me. So I usually write about things that have happened to me specifically or sometimes it can be someone who's close to me.

I feel like writing songs is cheating on acting. It's weird.

I feel like you're being coy if you don't do something and celebrate the 20th or 25th anniversary in some way. Just as I've never, ever had any kind of embargo on playing songs from Endtroducing, no matter how much I wanted people to like my new stuff - I've never, ever stopped playing Endtroducing, for that reason as well. It's a give and take - it's a balance. If there's one theme, I guess, to this entire discussion, then it's that.

I feel people are seeing me as a true artist rather than a singer, or an entertainer, or a girl who just makes songs.

I feel like you have to constantly keep proving yourself, and you have to constantly keep getting out there and showing them you're more than just that one song on the radio that's just playing. And that's what I had to do the first time around; I had to keep going out there and keep performing live.

I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.

I feel really personally connected to all of the songs, so stepping back is really hard.

I feel safe and comfortable to do that once I know that the song structure around the bass part is very interesting and it satisfies me in a compositional sense.

I feel sometimes that I'm in a constant state of being lost in translation, and I guess that why I write songs.

I feel so good singing songs that I sang with my father.

I fell in love with folk music at Surprise Lake Camp. It was the songs of Woody Guthrie and the Weavers.

I feel the emotion that life conjures up and the songs I write get me closer to my feelings and realising who I am. It's a natural process.

I feel very strongly about letting people know I'm proud of who I am. I want people to know when they hear my songs it's coming from a specific place. The new record is specifically for us trans women: that we can sing about our pain, being ostracized by our lovers, who are ashamed of us in a way. There's no pop music like that for our community. I wanted to contribute in that way.

I felt an obligation even then to write a song that people would sing in the pub or on a demonstration. That is why I would like to compose songs for the revolution.

I felt certain uneasiness, a strange sensation, which had comic to a head. Every evening I went to Yahya to report that Mujib [Rahiman] and I weren't making any progress, and Yahya [Khan] showed no interest. He looked away or complained about the television or grumbled because he couldn't listen to his favorite songs - his records hadn't arrived from Rawalpindi.