Top 1200 Cover Songs Quotes & Sayings - Page 19

Old Tom Bombadil is a merry fellow, Bright blue his jacket is, and his boots are yellow. None has ever caught him yet, for Tom, he is the Master: His songs are stronger songs, and his feet are faster.

My music is more than me writing a flashy soul song. They're heartfelt songs about my family and true stories. I have also songs that aren't personal, but just painting a picture. I don't like being put under labels, but my music is going to continue to stay classic and timeless forever.

Most Christmas carols have no obvious religious content, or at least that's noticeable to most people. I mean, it is almost by definition, a cultural phenomenon, all these songs, even though they point to this very religious holiday. They're not religious songs in effect anymore.

Many of my fans often tell me that they listen to my songs to get through things. And therefore, obviously, I hope that they can picture being in a place where things are better... I hope my songs can bring people to a calm place.

I don't think you get to good writing unless you expose yourself and your feelings. Deep songs don't come from the surface; they come from the deep down. The poetry and the songs that you are suppose to write, I believe are in your heart.

I just love to see the crowd reactions when I drop certain songs. There's some songs that you just know are going to pull out some serious emotions with people, and I love seeing that.

Here are some funny songs, there are some songs that we didn't even remember. I heard this song that Ringo is singing, I still don't know the title of it, but it is got the most amazing lyrics and it's a quite a good production. And quite a good tun

My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.

It was a matter of not seeing the woods for the trees. Glorious songs have been in Ireland forever, but a lot of these were so popular they were sung only by drunken men at weddings. They didn't have any regard for the song at all. So, I picked out 14 songs that I had grown up with, songs with great melodies. After 35 years as a songwriter, I appreciate the value of a good melody because I know how hard it is to write one. So I presented them in a new way, with piano, keyboards, strings, and a contemporary rhythm section. I just treated the melody with a bit of dignity and a bit of style.

If prolific is writing a lot of songs, I'm that. If it's writing a lot of good songs, I'm something else.

Pop music often deals with subject matter like breakups, or you have songs that are like, "I will love you forever," or "you're so hot right now," or "I really feel you," or "We should be together." There aren't that many songs that are like, "I just walked into the room and now I have nothing to say because I feel so awkward because I fancy you so much." There's not as many songs that deal with that awkward bit about love; about how you can really have such a huge crush on someone that actually is completely disabling.

There's a lot of songs and songwriters out there - you have to make something stand out to pitch songs. Sometimes you have to be bold and just try something different. And just stick with it - don't give up if nothing happens.

I write songs from the point of view I had at a time;I'm not tryingto write songs from a young person's point of view.That only ends in disaster.

On 'American Idol,' I felt like one of my challenges was picking songs because I've definitely been exposed to a lot of music. So when I went to pick songs, it was difficult for me to choose, but I'd always go to country because country music is so memorable.

I decided at 15 that I didn't want to be one of those artists that gets up and sings love songs they don't mean. I decided that I was going to be me to the fullest extent, that my songs were going to reflect relationships I've had, things I've been through, and even the stuff I'm embarrassed about.

8th grade I started writing my own songs. They weren't good songs or anything, but it was always the song writing aspect of things that was important to me, I always just wanted to create a song it seemed like.

I care about the records I make and I love writing songs and some songs are really dear to me and they mean something. But the memory of making the records and the activities surrounding the records, the people involved in them is actually a bigger thing to me.

I don't want to sing boring pop songs - I want to sing songs that are meaningful to me.

We just did a bunch of songs, and there was a lot of enthusiasm for the songs that we made. We didn't feel like we had to do Miike Snow. We just did it because, I mean, I guess we felt like it would be a bit of a shame to leave it where we left it.

I've done two albums for Concord Records; one was with Al Jarreau and it did very well for us. The second album was called 'Songs And Stories,' and it had good songs and good performances, but I promised them I would do an album that was more jazz-oriented.

Winter will never come for the likes of us. Should we die in battle, they will surely sing of us, and it’s always summer in the songs. In the songs all knights are gallant, all maids are beautiful, and the sun is always shining.

Singers, like Frank Sinatra and myself, we interpret the songs that we like. Not unlike a Shakespearean actor that goes back to the greatest words ever written, we go back to the greatest songs and bring about my interpretation of them.

At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.

In life you can get a feeling which is part of a person, the same as in the songs. Music is almost our representation of our fantasies and so our songs are representations of our fantasies.

Writing the songs and producing the songs and arranging them and recording them is your canvas and your palette and your brush.

I thought that I wrote songs and wrote music, and that was sort of what I thought I was best at doing. And because nobody else was ever doing my songs, I felt - you know, I had to go out and do them.

I would like to do one of Ilaiyaraaja's songs. After all, I did play drums for him and have watched him closely while composing, recording and performing. I would like to do an album of Mohammed Rafi's Hindi songs, too.

I don't need to edit names out of songs and I don't need to edit details out of my songs because I've always been able to be honest with my music. That's the one place where I'm never ever going to change how I do things.

When I do older folk songs, I'm not doing them because they're old. I have no interest in reviving or continuing a tradition. I'm just doing them because they're great songs.

I do feel I'm responsible to carrying on the music. That's what I was charged with as a kid. When I was a little girl, I was told, 'When we are gone' - when you're a kid, you never think they'll ever be gone - 'you have to keep the music alive, the Carter Family songs, and add your own songs.'

You have to have a plan. Everything has to be planned. For me, I start with the title of my album, before I even start with the songs. I write down different things that I want album to say, and then the songs come from the different words.

My way of communicating with God as a boy (and often even now) was through the lyrics of a song. . . . So I didn't have the problem some people do who say, "I don't know how to pray." I used the songs to communicate with God. . . . To me, songs were the telephone to heaven, and I tied up the line quite a bit.

I remember when our first album came out. After one of our gigs, we went across the border to Mexico and the band in the bar where we were was doing covers of our songs. I don't think they understood a word they were singing but they did the songs perfectly.

Most people think in order to validate yourself as an artist, you have to write your own songs. I commend the guys that do. I've done it. But I also think that you can pick great songs outside that you didn't write that can help your career.

The songs were really complicated. I used to meet people in bar bands who were trying to play our songs and they were really struggling with it. Technically it was really difficult stuff.

After I left the Pumpkins, I went home and just sat around. I have a studio in my basement, and I found myself writing all these songs, just taking advantage of the relaxed situation. I wrote about 30 songs in about 30 days.

Songs don't really feel like me unless I somehow shed a little secret or open myself somehow or be vulnerable. When I'm singing these songs, it feels like me, and that comes with the vulnerabilities and the strengths and the moments of triumph or whatever.

The best tunes are songs with a face. You recognize them. You know them. It’s like a person. They have a face that’s outstanding. Other songs don’t have a face. You just hear them, that’s all. The really good ones are few and far between.

When I first started writing songs and being very explicit, it was hard, but one of the main things people respond to in my writing is that 'just say it' attitude of my songs. There really is nothing personal or private; it's all universal, if you can just find the courage to be open about your life.

I'm really interested in starting to write my own songs. I never really did, but hopefully I will because I'm so interested in writing my own songs.

I don't love playing new songs in a festival environment. Because when it comes to a festival a lot of people probably won't know your band really well at all so playing more familiar songs is a little more conducive in having a better show.

I used to come home and play piano all day by ear and make songs up or figure out my favourite Elvis songs. I'd make up games by blindfolding myself and singing the harmony to whatever notes I'd play.

A guitar for me is pretty much strictly in the context of writing songs for my band, coming up with ideas with my band, and then being able to perform those songs as best as I can on stage - that's what the guitar for me has always been.

I'm not bashing people who write songs that are just 'get on the dance floor and party party', I understand why people need those songs too, but I don't really write lyrics like that.

I don't write all my stuff. Everybody always thinks that. But in just about every album I've ever had has been about 50-50 songs I've written or co-written and other people's songs.

People try to make a big deal, like I don't want to play my old songs. That's not it. I don't want to play my old songs if that's my only option. That's a different thing.

So, in some ways, the political songs tend to be a bit more like reportage, whereas the love songs tend to be like novels, you can pick them up off the shelf and go into them any time.

We sing songs about love because we love the people we sing our songs to!

I've always thought that a lot of really good writers go wrong by getting so into the craft and the technique and perfection. Perfection can be the enemy sometimes. Some songs don't need to be told perfectly. Life is messy and has loose ends, and sometimes I think the songs should reflect that.

I always liked really heavy guitar music, but didn't like the long-winded songs that went with it. And I always liked pop songs, but was driven nuts because the guitars were so wimpy sounding. So I decided to put the two together. That's how the Muffs started.

Female artists I love the most are Fiona Apple, Paramour and Regina Spektor - those girls that really write amazing songs themselves, and they're younger and cool. I'm not quite sure I could ever write songs like any of them, but if I could, I would.

I think people just want to hear good songs and I just want to keep getting better as a writer so that I can deliver good songs.

When I am seriously composing, sometimes a phrase will come into my head, a catch phrase. When I was writing pop songs for a few years, as a career, separate from my folksinging career, I used to write songs for pop singers.

I didn't have much of a relationship with the songs and my voice was changing. I didn't have any control over it. I mean, one day it could be high and the next day it could be gone. And that's why we had to keep going back in and doing songs over.

I think I had kind of an advantage. When I was growing up, my dad had just got out of jail and he had a great record collection. He had - it was all - these were the songs. So I heard a lot of these songs, like, my whole life, so for me it was easy. I already knew what I was going to sing.

When I sang the line, 'Songs about Old Ireland.Songs about being young again.I wish I was young again,' twice people cried. I saw them.

Having not really written any generational songs - I think maybe two or three of the songs that I've ever written have any bearing on the age of the listener. My stuff tends to be far more concerned with the spiritual and with subjects like isolation and being miserable.

I love to sing big rock and roll songs; I love to sing country-pop stuff, and then I love to sing soft, sadder beautiful songs.

The South Side loves me - I've got a song with Jermaine Dupri - and I've got songs on the East Coast and songs on the West Coast. Now, if I could just find me a rapper from up North.

I was obsessed with country music when I was a kid, and it's definitely had a huge influence on the way I write songs. I was always attracted to songs that had a brilliant pun or a clever turn of phrase, but came from a dark, bitter place. As a writer, I've always gravitated towards that feeling.