Best 8933 quotes in «song quotes» category

When we were making vinyl records we had a lot of time limitations for each record so songs were left off for a number of reasons. Now, with CDs, much more music can be included.

When writing I just go with the song. I go with the song and try to tell the story. So the story may be "Wonderful Baby", which is a little song. Or it might be a gentle song, "Empty Chairs". Or it might be a rock and roll song like "Prime Time" or "Run, Diana, Run", or "American Pie". I don't know where it's gonna go. I don't have any idea what I'm doing. I just do it. I just keep doing it. I keep taking adva

When you are in the American Idol bubble, a lot of contestants want to go as far as they can and wish to be on point with ready-to-go songs.

When you are pushing yourself to not go back to the same well, you're gonna come up with something different, or you'll find songs that are different.

When you ask a songwriter, "What's your favorite song?" he goes, "The next one.

When you a young kid at that age at that time, and you know that you got talent as far as hip hop, you wanna be on the radio, that's the first thing. So we was more or less infatuated with just havin' a song on the radio, you know? Before our careers even launched it was more or less about lettin' everybody know, 'Staten Island? You got good emcees there.'

When you are writing a song for something else, if you are doing something for money, I always think that's bad luck.

When you break into song, it's not about dialogue, it's not about how you would speak in a naturalistic sense-it's about expressing your inner torment or your inner joy.

When you construct a mix tape, the first song you come out with has to be a barnburner.

When you direct the dialogue you can be precise, but with a song as a director you're more like a football coach. You can say one, two things in the beginning and then the actor has to follow what happens.

When you do a cover it's a way to get attention clicking on something. At the Quiet Music Festival, The Jicks did this Nirvana song, very unrehearsed and not important, but then all the websites were like, "They covered Nirvana!" People like covers of famous people.

When you do a song new live on stage, it's kind of a bit weird until it gets worn in, you know, like oiled up a bit. It's still a little bit stiff until you really thrashed at it for a few weeks.

When you find great songs, and somehow you get a spark in a little way, it can become brand new.

When you enter the realm of politics, you don't enter it because you want to be popular. When I want to be popular, I pull on a guitar and sing a song.

When you first start a band all you think about and spend your time doing is writing songs, play shows, in the simplest way and the simplest formation of the band. It's about the gear, and that guitar that one day you will buy. It's a beautiful time. I'm grateful for having that time. Then life flips upside down, all of a sudden you are strapped to a rocket ship, you get a hit, then it is tough to keep grounded.

When you get to say something in a song you're not directing it necessarily at one person. When it's in a song it's easier to get it out. I don't really worry so much about it when I'm writing a song.

When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.

When you first sit down to write the first song, until you've maybe got three or four under your belt, it's always, to me, like a mountain to climb. You look at that one blank piece of paper and you think, `God, how many songs do I have to write here?' It always feels like pressure.

When you have a song on the radio your career and your life changes maybe for the better and maybe for the not so good depending on how it's going that day.

When you hear a good traditional gospel song it makes you wanna go buy a three piece suit

When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song

When you hear kids singing your songs it just validates them, they sound like real songs when you hear them back, it's quite refreshing. Like songs that could have been around for a hundred years.

When you hear an instrumental song someone is singing over, you know right away it's wrong.

When you listen to an album, it shouldn't feel like, "That's the girl song," "That's the club song." I shouldn't know what you're thinking while you're making the song. I don't want to know what the artist is thinking.

When you listen to the music in this film [Despicable Me], it's working on the level of melody, but the other key element is lyrics. There are a number of songs in the film where the lyrics themselves are very much speaking to the essence of what Ted Geisel was setting out to do.

When you listen to the Anthology of American Folk Music, or anything like that - a compilation of garage bands from the Northeast in the early '60s - you're not necessarily listening to the band and thinking about the lead singer, or the story of the group, or the context or the mythology of the group. You're just listening to the song and whether or not it has a hook.

When you look into the eyes of your people out there that came to see you, that's when it's like, 'Yep, this is what it's all about.' This is why we don't sleep, and this is why we write songs and try to be the best. This moment right here onstage.

When you love what you do, you just really fall in love with it. Sometimes you record a lot more songs than the album will even hold. You record like 300 songs and only 12 songs go on the album. It takes time. But if you love what you do, it works out.

When you make a solo record, it's you. It's your name. It has to be the right songs for how you feel. It just took me a really long time to get to a place where I felt comfortable with the material and the recording.

When you put your arms around me, You let me know there's nothing in this world I can't do

When you put biblical truth to the songs used in churches, you'll have the congregation leave singing the sermon. You'll have God's thoughts, things that are God-breathed, stuck in their heads. It's sad to think about a really catchy tune paired up with bad theology because that could, honestly, do a lot of damage in church.

When you play guitar you are drawing a frame around a moment and saying to the listener, 'Here is how I want you to experience this. How you begin and end a solo is framing, How you structure a song is framing, how you present yourself onstage is framing. See every corner, not just the center, framing should heighten the impact of the art and give clarity to your vision.

When you play the bars, you pay your dues. It does matter that you know those things [songs]. And the great thing for me, too, is that I draw on that stuff as influences. It's also stuff that you put in the tank that you pull from to make records.

When you're an artist you're speaking about life, you're talking about your experience here on the planet. So essentially, that's what I do when I'm writing songs.

When you're DJing, there are songs I love to play, but I know people are going to walk off. It doesn't matter what I like. You have to be able to play the popular song and slip in one of yours, in such a way that they don't notice it. You've got them in such a roll that you get them back into what they think they like.

When you're all singing together, it brings things together. I know the songs that my grandfather and my father sang.

When you're a songwriter, people wonder about your personal life and the meanings behind the songs, and that can feel pretty invasive, so you become protective about your inner world.

When you're dealing with TV and with movies, people dont take it as serious as they do with music. If a rapper does a song about shooting people on the block, and goes into a restaurant or grocery store, people grab their purses because they're afraid the person is violent. With TV and movies, people know it's okay, it's just a script.

When you're dead, everything in the world is like a song that makes you cry.

When you're in a band and there's five of you, you have to accommodate five people in every song.

When you're in a daze - whether it's from running or a hangover or whatever else - I think that ideas from your subconscious can slip through more easily. The way that I write songs, for what its worth, when I'm playing music, if it's good music it will bring images forward into my mind and then I'll write down what the images are and that becomes the lyrics. I think that process is just easier if the superego has just gone away in disgust for the day.

When you're doing the traditional musicals, singing songs that are 40 and 50 years old, you realize there's a reason why those musicals are hits. These are amazing songs!

When you're making a singular pop song, you don't really need any subject matter. You just sort of say, "Uh, I love you." And then you try to figure out some rhyme for that, and there never is one.

When you're feeling joyful, you are giving joy, and you'll receive back joyful experiences, joyful situations, and joyful people, wherever you go. From the smallest experience of your favorite song playing on the radio to bigger experiences of receiving a pay raise -- all of the circumstances you experiences are the law of attraction responding to your feeling of joy.

When you're looking for a house, you're not looking for a house that's perfect. You're looking for that house to have character. And I think it's those little bits of humanity they come from the music. That's what the music brings out when you have that, it brings out the character of a song. You go back and listen to 30, 40 years of music, and all the great, great songs that we've had in our lives, they all have that character. They have that human nudge, they all have that human relation. You can relate to it.

When you're in the moment and not over thinking the song is when things tend to really work. You're not so focused on the minutiae. You're focused on the overall feel, and that's the stuff that I get from the demos. First impressions are always the most important. When you start getting into a full-band, democratic context the little things almost immediately get thrown out the window because you don't think they're important.

When you're sequencing a record, you want the listener to stick with it from beginning to end, and in order to do that, you really have to map out the journey from the first song to the last.

When you're singing, it can be looked at as a monologue, in a way. If it's about telling a story and connecting with your audience, you can do that through song, through dialogue, or through a monologue. That's what's special about being an entertainer.

When you're standing in deep water And you're bailing yourself out with a straw And when you're drowning in deep water And you wake up making love to a wall Well it's these little time that help to remind It's nothing without love, love, love

When you`re onstage you have a certain faith that somebody's gonna yell somethin' back. Some nights it's louder than other nights and some nights they do, and on some songs they don't. But that's the idea. I think when you begin to expect a reaction from an audience, it's a mistake.