Best 8933 quotes in «song quotes» category

If I had more time, I could've utilized the stage more and turned it into my own but since I used all my energy writing and producing songs, my mind was blank when it came to my performances. That's what I regret the most.

If I had to give up performing, it wouldn't bother me too much. But I couldn't live without my writing. I put all my feelings, my very soul, into my writing. I tell the world in my songs things I wouldn't even tell my husband.

If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.

If I had to collaborate with anybody on a song, I would pick Kendrick Lamar because he is so dope as an artist and I love his hustle and his passion. He is fearless and the way he comes to the music is like we share the same passion for what we do and with somebody from the West. In my opinion that would be a great collaboration.

If I had to associate myself with one song, it would probably be Let Love Rule. It's so simple and to the point. It speaks for itself.

If I had to choose a song to listen to before I died, it would be Simone singing Começar de novo.

If I hear a conversation and somebody says something intriguing, my first thought is, Is that a song? I write all year long, and at the end of the year I pull these forty or fifty things out and say which of these things do I want to record.

If I hear a song like "Time After Time." I'm sittin' there lookin' at video and Cindy Lauper comes on singin' this song. I said, "God damnnnnn!

If I knew where the good songs came from, I’d go there more often. It’s a mysterious condition. It’s much like the life of a Catholic nun. You’re married to a mystery.

If I learned to play guitar it was so that I would have something to sing to, if I learned to write a song it was so that I would have something to sing. So the gut feeling you're talking about comes from singing and communicating the lyrics and what it is that we feel.

If I love a song, I make it mine.

If I hear a really good song it's like, oh man, I want to write a song that good. But the urge to create mostly comes from nature, weather and I think it just effects me.

If I knew I was going to die at a specific moment in the future, it would be nice to be able to control what song I was listening to; this is why I always bring my iPod on airplanes.

If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!

If I look back at the songs I was writing when I was effectively a child, there's a big contrast, so I've learnt a lot along the way. I think it's a confidence thing; the biggest thing that's affected me, both in writing and performing, is a growth in confidence.

If I make a song where I'm happy, I sound completely mad - I think my voice is better-suited for sadder songs.

If I'm doing a concert, and I'm having a problem with the audience... I just play a Bob Marley song, and I'm good for the rest of the night.

If I'm focusing on playing and enjoying the song, then it always goes well. I get lost in the song, and the performance is so much better. If the focus becomes not making a mistake, then it just feels rigid to me.

If I hear another line dance song I think I'm going to puke.

If I hear one of my songs by anybody, it's a dream come true every time for me as a songwriter, because I want to write a song, I want to write a song that the world can sing and will always sing.

If I knew where good songs came from, I'd go there more often.

If I made a mistake in singing a song or in the script, I could have some fun with it, then retain any of the fun that sounded amusing.

If I'm anything, I'm not a singer but I'm a song stylist.

If I'm feeling something, I know if it's a song, or if it's a little story that I'm going to write, or if it's a painting or play. I might sit down and write a play.

If I'm happy with the song and it's a hit song or not, for the rest of my life, I can hang my hat on knowing I did the best I could, and I'll enjoy getting out there and doing it. That's all that really matters for me. The icing on the cake is people actually enjoy it and sing it back to you. That's when you know that you've done something great.

If I'm over a song two weeks after I made it, I'm not going to put it out. It has to last months.

If I'm walking down the street and someone stops me and says, "Oh! A song that you wrote meant a lot to me, and I listened to it after I went to my sister's funeral," that's when it hits me.

If I'm not writing about myself, then I sit down with people I really dig writing with and throw 'em out and see if something sticks. Their brain plus mine hopefully will make something interesting and cool and it will just snowball and we'll have a unique song by the end of it.

If I'm not writing songs about things I've actually been through, it ruins the idea of making music to me.

If I'm working on a set of songs, and thinking about putting them together in a collection, I start to think about what they have in common. Either on purpose or without meaning to, I shape them all in the same kind of way, because I'd rather the album feel like a galaxy of things that all have to do with each other. I do that with sonic elements, too - it's a matter of each record having its own specific identity.

I finally feel content with my work. My fruit has started to ripen. I'm able to dissect emotion properly and distill it into a song that reverberates in a truthful place.

If I'm on a bus and someone makes my blood boil, I'll pocket those emotions and put them in a song.

If I'm writing... even a piece of a song... I write it down. If it still resonates six months down the line, a year, even five, those are the ones you put in your bag and you take to the studio. You come to realize, the ones that don't make it, they were only meant to live for that moment in your notebook or on the 4-track-and plenty of songs never get any farther than the 4-track.

If I'm gonna write songs about my exes, they can write songs about me. That's how it works.

..I find it incredible impossible not to cry when I hear Stevie Nicks's "Landslide," especially the lyric: "I've been afraid of changing, because I've built my life around you." I think a good test to see if a human is actually a robot/android/cylon is to have them listen to this song lyric and study their reaction. If they don't cry, you should stab them through the heart. You will find a fusebox.

I find in my poetry and prose the rhythms and imagery of the best - I mean, when I'm at my best - of the good Southern black preachers. The lyricism of the spirituals and the directness of gospel songs and the mystery of blues are in my music or in my poetry and prose, or I missed everything.

I find it interesting when I look back at songs and it's what I've been thinking and feeling for the past two years. There's some sexual stuff in this record and I'm sometimes like, "Is that too far?" There's a confidence in it. It's over-sharing, but in a really therapeutic way.

I find it extremely difficult talking about my songs because there's so many different things that can make a song come together.

I find it much easier to write comic-books than lyrics actually because it's a natural dialogue. Writing song lyrics is not natural but over the years I know what I need to know to get it done. I find it quite easy to capture a character and use my own personality and humour.

I find artists like Tim Barry, Cory Branan, and Jenny Owen Youngs, these current artists that are doing what they're doing now are my idols, my generation's incredible songwriters. I've listened to so much music on the whole ride and I'm inspired by a lot of classic artists, but it's the people right next to me singing songs that are blowing my mind, if that makes any sense.

I find it very fascinating that one person or a group of people can get together as a choir and come up with a song that ends up inspiring people to create emotions, love and togetherness. Communication, which comes from this idea that sparks off of humanity and becomes something that is cherished and loved by the people, is very fascinating to me.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

I find myself a lot more open to bands if I just hear their song. It gives you an opportunity to engage with the thing itself and not be overwhelmed by everything else that surrounds it.

I find on songwriting, I really have to work at making sure I'm not imitating myself. You know? Which happens to all of us. When an artist becomes really famous, you'll start listening to songs and saying "Wait...I've heard that before" and it'll be one of theirs. We all fall into that rut. If you don't have something to force you out of it, then it's kind of a dangerous business.

I find that I end up liking songs if I really have an idea of something I wat to write about-some problem in my life or something I want to work through; if I don't have something like that at the root of the song, then I think I end up not caring about it as much. I gravitate towards some kind of concept or idea or situation that I want to write about. Very often I have to write, rewrite and come at it from an opposite angle...and I end up writing the opposite song that I thought I was going to write.

I find that the time that goes by is actually your best friend when you are making a record. The passing of time gives you perspective on what you recorded and what you wrote. If something sounds good to you 12 months after you recorded it then chances are pretty good that there's something valuable about the part or the song.

I find singing some of Foreigner's older songs are a little reckless and not exactly who I am now.

I find that if you take the various popular song forms to their logical extremes, you can arrive at almost anything from the ridiculous to the obscene-or, as they say in New York, sophisticated.

I find so many songwriters today are missing an element ... either the production is amazing but the songs aren't, or it's the other way around.

I find that it is useless to worry about things I can't control and I can't control how many people come out tonight. All I can do is focus on writing the best songs I can write and performing the best I can perform.