Top 1200 Amazing Song Quotes & Sayings

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've always thought 'Southern Accents' would make an amazing country song. It's always spoken to me. I've always loved it. Every time I hear that song, it reminds me of my dad.

My dream collaboration would be to work with Drake. Honestly, he's an amazing songwriter, and I feel like if we got the opportunity to do a song, it would be the most amazing thing to ever hit people's ears.

Strangely enough, when the Sugababes' 'Freak Like Me' went to number 1, which was built around my 'Are 'Friends' Electric' song, I had another song called 'Rip' go to number 1 in the Kerrang TV chart, so I was pulling new people in from very different areas of musical interest. That was quite an amazing week.

It's pretty amazing to write under any circumstances when someone gives you an assignment to write a song, even if it doesn't get accepted. I've written songs a couple of times, some for Disney, that haven't actually ended up in their films, but then you're left with a song forever.

[Best original song nomination in 2016] should be Wiz Khalifa for "See You Again," but this is an amazing song and it's easily the biggest song out of any of the songs nominated. It was a huge hit. And really, I'm just happy for Weeknd as a person.

With the song 'This Christmas' I wanted to do something that was kind of different. I mean, Donny Hathaway is an amazing artist. So I wanted to bring my flavor to the song so when people over the age of 45 or 50 hear it they'll be like 'OK, he did his thing with that record.' It's like I can appeal to everybody and not just a younger demographic.

I think there's just so many people in the world that don't feel understood, and when you hear a song and you go, 'Oh, that song understands me,' that's an amazing feeling. I get it when I listen to the radio... That's a beautiful part of music.

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.

I don't want to just go out and do song to song to song. I like to create things before the song actually kicks in, little things you do to excite the crowd.

I sang my song called "In This Song." David Foster wrote the song for me. I thought that I should sing a ballad song.

I've always believed that there's an amazing number of things you can do through a rock'n'roll song and that you can do serious writing in a rock song if you can somehow do it without losing the beat.

What's the coolest thing in the world is when you have fans that know the lyrics to your songs. That's amazing! Such a great feeling! When I go out there and am playing "Grinnin' In Your Face" and people are singing the lyrics to it, that's amazing to me. I'm actually taking a song where people wouldn't know it, and I'm bringing it back. It's a really cool feeling.

You can be very efficient with lyrics, and you can get the heart fluttering or soaring or make someone cry with a really amazing dance song.

Why are black folks singing Amazing Grace which is a song about a white slaver's conversion?

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.

It's amazing when you're playing to a crowd who barely understands English but they're singing parts of your song back to you.

I always think of each night as a song. Or each moment as a song. But now I'm seeing we don't live in a single song. We move from song to song, from lyric to lyric, from chord to chord. There is no ending here. It's an infinite playlist.

I have an amazing team, I have amazing producers, I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.

When 'Quadrophenia' came out, I turned on to that because of the whole story with it, and there were just some really amazing songs on there. 'Love Reign' being the quintessential song on that record, I think. That was always one of the cornerstones of my temple, that song.

That's a nice song,' said young Sam, and Vimes remembered that he was hearing it for the first time. It's an old soldiers' song,' he said. Really, sarge? But it's about angels.' Yes, thought Vimes, and it's amazing what bits those angels cause to rise up as the song progresses. It's a real soldiers' song: sentimental, with dirty bits. As I recall, they used to sing it after battles,’ he said. 'I've seen old men cry when they sing it,’ he added. Why? It sounds cheerful.' They were remembering who they were not singing it with, thought Vimes. You'll learn. I know you will.

Like the Birth Of Venus, the song [Yello "oh, Yeah"] denotes the birth of the bro. The song just reminds me of bros looking out over lowered Ray-Bans. It birthed a negative sexual revolution. I was going to a lot of bondage clubs at the time and they did play this song. The song I associate more is that horrible Enigma song with the Gregorian chant. There's something good buried in that song and I might not hate it as much if I hadn't been a sex worker.

It's a humbling and amazing journey when you write a song in your bedroom, and you've got no money, and you're trying to write a song based on where you're at right at this moment.

My goal is to think of nothing when I'm writing a song because too many influences could sabotage a potentially amazing song.

It's always amazing seeing the song-writing process. A song just starts off as just an idea or a story you want to tell. It keeps building and building when you add the lyrics, the instruments, the vocals until you finally reach the finished song other people can enjoy.

It's one thing having a great song, but I think for me if you take it to the next level... say you had a guitar and a vocal, and the song was amazing but the vocalist wasn't that great and it just was a guitar and vocal acoustic track, switching that to something like an amazing voice singing the exact same song with the instrumentation being really nice and lush or unique in some way and interesting and diverse... I think it's all about the instrumentation and textures in the sound.

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.

We came from the '60s era, when we started and made so many hits. The song value from the '60s was so darn good, you've got The Beatles, The Beach Boys, all of Motown, and plenty of other people, too... amazing records, amazing songs.

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.

I have an amazing team; I have amazing producers; I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.

I'm all for making a woman-empowering song. I get that, and I think that's dope. I've got a daughter, and I think that's amazing. But when you're specifically picking on guys, that's when it's not right. 'No Scrubs' is the meanest, dumbest song ever made because they need to be specific in certain areas.

There's benefits of having established artists on the record, Liam Payne on 'Polaroid' for example. If you look at that song you have Lennon Stella, who's an up-and-coming artist, so there's a balance on there because I still want people to focus on the song just as much as Liam being an amazing superstar.

'Fade To Black' - just this amazing construct: a song that defied the definition of what Metallica was perceived to be at the time.

Regardless of its purpose, the humpback-whale song is the most complex piece of nonhuman composition on earth. Whether it's art, prayer, or booty call, the humpback song is an amazing thing to experience firsthand, and I suspect that even once the science of it is put to bed, it will remain, as long as they sing, magic.

I love Monk's song, 'Just a Gigolo.' It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.

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.

In the first year in New York, I went to this amazing teacher named Jen Waldman. She does lots of different classes, but one of her classes was where you went and worked on a song. And suddenly I felt like an artist again, and because I had worked the whole song, when I went into the audition room, I could connect to something in the 16 bars.

Music fills peoples with life. It doesn't have to be a 'happy song.' If you have that one song that relates to you, whether it's a sad song or a gangster song, whatever relates to you the most in that moment, it can literally get you through the day.

To be able to be onstage and to hear people in the audience go, 'That's my song!' It's amazing.

I've been so honored and so lucky to work with some amazing people. I've collaborated on amazing sets and with amazing crews.

The only path to amazing runs directly through not-yet-amazing . But not-yet-amazing is a great place to start, because that's where you are. For now.

I would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.

You can hear 'Human Nature' all over our song 'Elevate.' It's an amazing song. That hooky arpeggio in the beginning is great. Unlike most Michael Jackson ballads, even though I'm a huge Michael Jackson fan, this song is kind of restrained. It's not a huge, crazy song you can dance to - it's just this beautiful piece of music.

A song like 'Kilimanjaro,' which is such a fun, entertaining track... Singing the song was an amazing experience.

What's amazing about a DJ set is when you're able to re-appropriate a song or give purpose to a song that people didn't really think it was supposed to have. Give it this sort of hidden power by playing it before this song and after that one. That it fits into this logic and it goes farther than you thought it could go.

Kodak is hard. 'No Flockin' is an amazing song.

My grandfather was one of the most amazing Baptist ministers in history, he was unbelievable. He was one of the most amazing men - the most amazing man that I ever met... He lived an amazing life.

If you have a soft chin you can write an amazing song about me that involves an alien from my favorite movie, and then I'm yours.

Cyndi Lauper's 'Time After Time' was a perfect song. It was so beautiful and so heartfelt. Her vocals were so amazing. And, for me, that was a song I went to when I was feeling sad and wanted to feel even sadder.

Johnny [Depp] got this rock 'n' roll old soul to him. If I say a song, he goes, 'Oh yeah. I know that song.' A song he shouldn't know, a song that's not his generation at all. So he might as well have been there.

Considering the amount of information we're bombarded by, it's amazing if a song can transcend time.

Music is an amazing thing. I don't know if we really think about it the same way we consider a painting an amazing thing. I mean, a painting is, in quotes, imaginary. There is nothing on the canvas when you start; and writing a song, there is nothing there when you start.

I love Thelonious Monk's song "Just a Gigolo." It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized, because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.

The difference between a good song and a great song is a good song is one that you know, you'll put on in your car or you'll dance to it. But I think a great song you'll cry to it, or you get chills. I think a great song says how you feel better than you could.

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."

'The Last Five Years' is this quintessential piece, and every song is an actor's song, and every song is incredibly difficult and incredibly powerful and incredibly amazing. It was one of those things in college where, like, you gauged how good you were by how well you were able to pull off a song from 'The Last Five Years.'

An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.

I had been DJing a dance night in Brooklyn and witnessed the response people had to "The Devil's Dancers" - Oppenheimer's one hit song. All these young people were dancing to this amazing song, completely unaware of whether it was current or not. It was from 1982, but sounded very current. It made sense that a physical record should exist for this song again. It seemed the obvious choice to represent what Minimal Wave was going to be.

The first song I learned on the guitar was a Kenny Chesney song called 'What I Need to Do'; it was just an easy song to play... and it was really cool to see that come full-circle a few years later and have him record a song that I was part of.