A Quote by Britta Phillips

I love the feeling of nostalgia vying with the present. That can be from song to song, or within the same song. — © Britta Phillips
I love the feeling of nostalgia vying with the present. That can be from song to song, or within the same song.
In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.
Whether it be a reggae song, rock song, a love song, the main thing was just to, whatever I was feeling, to try to capture that emotion.
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
A Song of the good green grass! A song no more of the city streets; A song of farms - a song of the soil of fields. A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork; A song tasting of new wheat, and of fresh-husk'd maize.
My favorite song that I wrote is 'Love Line.' This was my first song that I wrote lyrics for, and I really wanted to express the feeling when you're in love and hoping the other person feels the same way.
When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.
I'm one of those people that I make a song... then I write another song and then I'm like, 'But this song is so much better than this song,' and then I kind of ditch that song. It's a long process.
I love the song 'El Rey.' And for years, I never knew what the song was totally about. It was something new for me. I'd never sung a song in Spanish before. Then I got the translation and saw what a really cool song it was.
When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.
I sang my song called "In This Song." David Foster wrote the song for me. I thought that I should sing a ballad song.
If you have a song that you think sounds like another song you should contact the publishing company and say I have a song here, let's cut a deal that lets everyone walk away feeling good.
No one wants the picture-perfect song anymore. I'm trying to keep the beautiful qualities of pop - nostalgia, melodies, and the feeling that a beautiful pop song can give you - but make it real. It's not polished.
You want the song to be at least at the same level of goodness throughout. Whereas with something you're doing live, a song dips and rises and that can actually be worked to the song's benefit.
I think the emotion that song carries makes it good. Because you have to produce around something - an emotional attachment and a feeling. The melody itself has a feeling in it. The keys, the tones, frequency, sonics, all of those have feelings in it. Like, it's the ghost within, the music itself. That's what makes the song even have a possibility of being great. The emotional connection. Because if you don't have that, I don't think you really have a song.
I think when you have one song that does really well, people love you from that song, or they hate you from that song.
The song 'Tyler Durden' is about the movie 'Fight Club,' so obviously, it's not a personal experience, but I love that song. It's my favorite song.
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