Top 1200 Amazing Song Quotes & Sayings - Page 2

The hardest song to write is a protest song, a topical song with meaning.

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.

The most amazing thing is being onstage and watching the audience sing every song lyric for lyric.

I'm never sure if I'll ever write another song, what the song will be about and if what initially sparked the beginning of a song might complete it.

I think when you have one song that does really well, people love you from that song, or they hate you from that song.

I'm a panicked karaoke participant because I am always searching for a song in the moment. I don't have my go to song. I will be driving along and I will be like, "That should be my karaoke song!" and then I forget what song it is.

Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.

I was listening to the 'Song Remains The Same' version of 'Dazed And Confused' and, oh my God, that is such an amazing version live.

I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.

I've always wanted to title an album 'Illinois.' I wrote the song, which was a very special song to me. The song isn't exactly about being from there, even though I am.

Donny Hathaway's 'For All We Know' is the song that I've sung the longest. It is a beautiful song about living in the moment and appreciating this very second. That is the song I did for my 'Rent' audition.

"My Trigger" is the best combination of song and track. "Heart Is Full" is maybe the best song we've done as a song, and that's why we try to play it in different ways, too, because I think for a lot of people the track was a bit distracting from the song.

They were so good that you just had to sing the song to them once and they got it. It's amazing. Sometimes it didn't come out the way you wanted, but it was good.

At the end of the day I'm not just sending beats in. I'm mixing the song. I'm recording the song. I'm engineering the song. I'm in the studio helping with the songwriting. I'm doing the whole beat - every single piece of it is me.

?ach song is like starting over. Because somehow, no song's formula works for another. And that's the beauty of it all. Each song's destiny is embedded in its DNA. And our job is to reveal it.

Sometimes a song just has to cater to whatever's goin' on. A well-written song is a song that stays true to the subject.

Actually think anybody ever approaches writing any song, I think the song approaches them, truth be told. Usually what happens is that a song arrives and afterwards you say that "I wrote the song," and it's not actually true; they find you, they write themselves.

I don't think about, "How does this song that has more of an electronic mix prefix to a song that has a full orchestra next to a song that has other things?" I just work on it as-needed.

The interesting thing about a song like 'Bulletproof Heart' - it was [originally] called 'Trans Am' - the interesting thing about the amalgamation of that song was that the song also lived within us, like we all got to live with the song and it was around for about a year before we recorded it again, so the song got to really transform, which you don't really get to do.

I don't have to say I'm going to make a song. A song is always there. I just have to open my mouth and a song comes out.

I'm very conscious that a music video is beyond just a promotional tool for a song. It takes a song to the next level and it gives a song a new life.

One of the most amazing things about 'Crazy Ex-Girlfriend' is that every song is an original. There are no covers. I think 'Glee' had to deal with forcing covers into their plotlines. That can be difficult to pull off.

The [book of the bible] Song Of Songs is an amazing erotic love poem that the church has tried very hard not to notice. It is really beautiful, and musical in its poetry.

I've been with Rita Ora in the studio doing a song of hers. She's amazing. She's a sweetheart.

It would be amazing to write a song that could be sung 100 years from now by a teenage girl and still be relevant to her - that's a dream of songwriting, maybe.

The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.

What's really cool about 'This is Me' is that our friends loved the song. Older punk rock fans don't know 'The Greatest Showman,' haven't seen the movie. And they hear that song and they're like, 'This just sounds like an awesome New Found Glory song. This is a really good song.'

I can't try to write a song - songs come out of me. I have to play the guitar and if I jam a song, boom! That's a song.

If we were to use the success of 'Need You Now' as the barometer for every other song, then we'll probably be highly disappointed. That song will probably undoubtedly be the biggest song of our career. We can hopefully have success for 20 years, but we may not ever have the success of that one particular song again.

For music, unlike a $500 software program, people are paying a buck or two a song, and it's those dollars and pennies that have to add up to pay for not just the cost of that song, but the investment in the next song.

I love the feeling of nostalgia vying with the present. That can be from song to song, or within the same song.

Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.

I was always behind in class. There was people in my class who was amazing at art, amazing at maths, amazing at English, but I wasn't clever with anything, even though I tried my hardest.

There have been a couple of times I've started the song in the wrong key. We stop the song, we all laugh together and we start the song again, and we go for it.

Will you make a song for him?' the woman asked. 'He has a song,' the man replied. 'He is the prince that was promised, and his is the song of ice and fire.

My favorite song? 'Amazing Grace.' Anybody singing it. But the best it'll ever be done is by the Scottish National Pipe band and their National Orchestra. It'll bring tears to your eyes.

'Unbelievers' was a song that we felt like we could tackle, so that's one of the reasons we wanted to start playing it live, we really believed in that song and we still believe in that song a lot.

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 don't think you ever write a song with any intention except the song's about such and such per say ... we've never written a song and thought 'oh it'd be great if in this part this happened in the audience'.

I am a firm believer in playing the type of music that compliments the song the best. If it's a folk song make it sound like one. If it's a rock song make it sound like one, if it's a rap song take it off the record.

I feel like, when you turn on the radio and you hear a great song, you know it's a great song, and you sing along. We all know what a great song sounds like, so we all have that instinct, it's just being able to accept your own instincts when you write that song.

I'm no longer beholden to the sacredness of the recorded song as some kind of ultimate standard by which every performance of the song is measured. I like to diversify, that there are multiple versions of every song. And the songs incorporate a lot of improvisation, and an element of chance, and I think that's exciting. There's no one true formulation of a song, they have various manifestations depending on the space we're in. I like that.

I've always wanted to do a cutesy little song with a guy and girl singing back and forth and thought that Regina Spektor would be kind of cool for that. I love her voice. She's an amazing musician.

Every song that is a Hopsin song, I 100 percent made it. Nobody helped me. There was no producer to say, 'Hey, put the beat like this... ' It was all me. If the song was wack, then the song was wack. If it's dope, it is what it is.

There are no limitations with a song. To me a song is a little piece of art. It can be whatever you like it to be. You can write the simplest song, and that's lovely, or you can just write a song that is abstract art.

My first song was Hula Hoop Song, in 1955. It was a novelty song. I had to find someway to reach out and it was with a novelty song. Now, all of my recording obligations have been taken care of. I made 14 albums for Warner Brothers. Five for United Artist before that.

It's fun to be able to revisit a song and do something that doesn't really illustrate the song but works tangentially or runs parallel to the song in some way.

I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.

I think you’re amazing,’ someone says to someone else, but it doesn’t matter who, because they’re all amazing really. People are amazing.

Playing a song changes a song. Every night a song becomes something else on stage.

It was amazing to remake and rewrite a song like 'Sweet Like Chocolate.' It feels like a good way to come back.

The song becomes the meaning itself through the vibratory qualities. When we begin to catch the vibratory qualities...the song begins to sing us...I don't know anymore if I am finding that song or if I am that song.

The pause makes you think the song will end. And then the song isn't really over, so you're relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.

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.

I feel like a lot of bands have done amazing covers, but whenever we start working on it, whenever we try it in rehearsal, it never feels right for me to do the song.

I have amazing kids, an amazing husband, a fabulous career, wonderful parents. If I had to go through some rough spots to get to this amazing place, so be it.

That's the amazing thing about music: there's a song for every emotion. Can you imagine a world with no music? It would suck.

I have this rule: It's like, if you write an amazing, cool song that you mean and then you go put your leather pants on and sing it in front of people; that's OK. But if you put your leather pants on and stand in front of the mirror and go, "Ok, I've got to write a song to fit these pants," then you're in trouble.

Each song is a child I nourish and give my love to. But even if you have never written a song, your life is a song. How can it not be?

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.