Best 8933 quotes in «song quotes» category

Whenever I've chosen a song because it's clever, it's always turned out to be a mistake.

Whenever I have a bunch of tunes written, I always find a kind of uniform that accompanies the songs.

Whenever I heard the song of a bird and the answering call of its mate, I could visualize the notes in scale, all built up within my consciousness as a natural symphony.

Whenever I'm feeling kind of down or something like that, or even good, the song 'Bohemian Rhapsody' by Queen is a go-to song of mine. It's like watching a movie, but with your ears.

Whenever I sit with a bowl of soup before me, listening to the murmur that penetrates like the distant song of an insect, lost in contemplation of the flavours to come, I feel as if I were being drawn into a trance.

Whenever I think I know something is a classic, or an amazing song, I realise it's still so subjective, because you and your friends could be talking about something, say, '(I Can't Get No) Satisfaction' - an amazing classic song - or someone would be like, "'Hey Jude' is an amazing song!", and I'd be like, "I don't really like it.

Whenever I hang out with my female friends, I feel like context is never needed. They can just say two words about something, it's like hearing the first two notes of a song and you can always identify the song. They can just say a word and I know exactly what they're talking about.

Whenever new ideas emerge, songs soon follow, and before long the songs are leading.

Whenever you give someone a present or sing a holiday song, you're helping Santa Claus. To me, that's what Christmas is all about. Helping Santa Claus!

Whenever there is stillness there is the still small voice, God's speaking from the whirlwind, nature's old song, and dance.

When Frank Zappa would get an idea for a song, he just did it. He didn't wait for anybody or expect anyone to do it.

When "Here Comes the Sun" started, what happened? No, the sun didn't come out, but Mom opened up like the sun breaking through the clouds. You know how in the first few notes of that song, there's something about George's guitar that's just so hopeful? It was like when Mom sang, she was full of hope, too. She even got the irregular clapping right during the guitar solo. When the song was over, she paused. "Oh Bee," she said. "This song reminds me of you." She had tears in her eyes.

When he went blundering back to God, His songs half written, his work half done, Who knows what paths his bruised feet trod, What hills of peace or pain he won? I hope God smiled and took his hand, And said, "Poor truant, passionate fool! Life’s book is hard to understand: Why couldst thou not remain at school?" A poem by Charles Hanson Towne

When I am dead, my dearest, Sing no sad songs for me

When I began writing songs, there was a pretty direct line between what was happening in my life and what I wrote about. So my first album was really all about my failed attempts to make a particular relationship work.

When I began making my own albums, the songs became funkier. They were more about the streets.

When I am dead, my dearest, Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree: Be the green grass above me With showers and dewdrops wet: And if thou wilt, remember, And if thou wilt, forget. I shall not see the shadows, I shall not feel the rain; I shall not hear the nightingale Sing on as if in pain: And dreaming through the twilight That doth not rise nor set, Haply I may remember, And haply I may forget.

When I began to cover songs for YouTube, they all tended to be in the super pop-genre.. as in, smash-hit songs. My writing process was heavily influenced by this - I went from a more heavy punk rock style to straight up sugary-sweet pop.

When I am onstage, singing all these songs... what's going through my mind is nothing. That's what's so amazing about meditation - achieving that state, getting to a place where you're clear and present. I'm not thinking about anything except connecting with an audience.

When I am seriously composing, sometimes a phrase will come into my head, a catch phrase. When I was writing pop songs for a few years, as a career, separate from my folksinging career, I used to write songs for pop singers.

When I am weak then am I strong, Grace is my shield and Christ my Song.

When I am most successful as a guitar player is when I'm able to just sort of lose myself. You stop thinking about technique or anything like that and just trying to evoke the emotion of that song brings, which is a very strong emotion for me.

When I began writing, it was a cosmic thing: Inspiration! Wham! Short spurts of time when I felt out of touch with reality, temporarily insane and the result: a song!

When I can see someone that's posting the way that they're thinking about what's happening in the world right now or even art that they've created, it inspires me to do the same. It makes me turn off my phone and go paint a painting or go hike a mountain or go record a song. Those are the kind of things that social media helps me do. But it also can make me sit in my room and not do anything.

When I collaborated with Nelly Furtado, the idea for the song structure came from myself, but the lyrics and the ideas behind the songs came from her.

When I come up with an idea about the way I feel, I can really state it strongly in a song.

When I choose material for an album all these songs I grew up with pour into my head.

When I deal with my struggles in my songs, I feel like most people are going to identify with my struggles because they are essentially dealing with the same things.

When I do my solo concerts, I'm used to being on the stage for two hours solid, singing 16 songs. And when I did 'Funny Thing,' I was on the stage the whole time. This is much more difficult. It's the difference between racing and sprinting. This is sprinting. And I have to learn to pace myself.

When I finish a song, I never feel like I want to restrict its life. I feel that once I've done something, it's out. It's in people's ears, cars, headphones. It has its own journey.

When I first heard John Smith my attention was captured by his sweet, earthy voice and fine craftsmanship, but what drew me in was his heart. It's clear that he's lived the pain in his songs and that his optimism is hope born of wisdom. That's a rare thing and a gift to all who hear him.

When I finally decided to do the show, I only had two weeks to learn the choreography and the songs in French.

When I finished a song that I thought was good, I thought, I don't know where that came from, so I have no idea if I can do that again. I'm talking like, a hundred and fifty songs down the line. I still feel that.

When I do older folk songs, I'm not doing them because they're old. I have no interest in reviving or continuing a tradition. I'm just doing them because they're great songs.

When I enter a club and hear my song being played, I feel like it's not really my song and when I see people dancing to my song, I feel like jumping up on stage and treating them to drinks.

When I feel like every day when I get up I'm writing songs, that's the time to make a record.

When I first heard the song Don't worry - be happy I realized it was exactly the kind of mindless philosophy that Americans would respond to. It would make a great national anthem along with Me first.

When I finally stopped [singing], he had been saying, like, the last day or so, he'd been saying, now, I think we should put this one in the album. So without him saying I want to record you and release an album, he kept - he started saying, let's put this one in the album. So the album, this big question, you know, began to take form, take shape. And Rick [Rubin] and I would weed out the songs.

When I first organized the King Cole Trio back in 1937, we were strictly what you would call an instrumental group. To break the monotony, I would sing a few songs here and there between the playing. I sang things I had known over the years. I wasn't trying to give it any special treatment, just singing. I noticed thereafter people started requesting more singing, and it was just one of those things.

When I first saw you with your smile so tender, my heart was captured, my soul surrendered.

When I first started doing stuff outside of Hot Chip, I got the impression that Joe Goddard was a bit concerned. But I said, "I really want to record these songs quickly and not turn them into dance music." And he was fairly supportive - maybe not wholly supportive. But then you learn that no one's about to quit the band, so it seems good and healthy.

When I first started making music, it was learning other peoples songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.

When I first started writing songs and being very explicit, it was hard, but one of the main things people respond to in my writing is that 'just say it' attitude of my songs. There really is nothing personal or private; it's all universal, if you can just find the courage to be open about your life.

When I first was trying to play the clubs around Houston to start playing my own songs, songwriters like Eric Taylor and Vince Bell and Townes Van Zandt and Don Sanders were just really encouraging to me and would let me sit in with them during their sets and introduce me to the person that owned and booked the club.

When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.

When I first started to get into writing, it was via music. I'd generate ideas for songs that would turn into stories, then they'd turn into novels. I was biased toward music.

When I get all focused on songwriting, I get into all the marketing and promotion that we do to make it happen. Then the right song comes along and blows it all out of the water. The right song will do it for you every time.

When I get home and turn on the radio, I hear songs that are new to me, but to everybody else they're old. I try to keep the music fresh in my head.

When I first started, I wrote some songs with Linda Perry. She's so instrumental in a lot of artist's lives, listening to you and then helping you write songs that are you, that bring the most of what you are out, whereas a lot of producers might put their stamp on you. I gained confidence because I'm less of a straight-up, traditional vocalist.

When I first started making music, I didn't really know what I was doing. I just wanted to write songs. I didn't have a concept. I didn't think it through. I was just flailing around doing what comes naturally. It took me a really long time to step back and deal with what I was doing with any kind of perspective or self-awareness.