Top 1200 Fun Song Quotes & Sayings - Page 3

If somebody sings a song that I wrote, I feel like its a nice point of validation for the song, because it shows that the song is able to stand on its own. I like that.

It's hard to complain when you say, 'We're gonna go to the clip where Helen Hunt and Will Ferrell are on 'Saturday Night Live' making fun of your song.'

It's always important for me to say something with my music, even if the deeper message is hidden inside of what sounds like a fun, upbeat song.

Zynga is about fun. Fun is important. Fun is good. And to have the ability to do something fun for 10 or 15 minutes that's right at your fingertips and involves your friends, well, that's better than television in terms of social connectivity.

(Talks about Miley Cyrus 'I always thought I'd be really fun to sing a song with Miley.

I do not wanna write a song like 'Coathanger' so Andrew Breitbart can rage against me on his web site. It's not my idea of fun.

If somebody sings a song that I wrote, I feel like it's a nice point of validation for the song, because it shows that the song is able to stand on its own. I like that.

I'm really passionate about the song Sky Spills Over. It was fun creating it in the studio and I've been overwhelmed at the response it gets when we perform it live every night. My son Ryan is a really talented filmmaker so I always enjoy working with him on a project. But what made this project even more special was that 3 of my own grandkids were in the video. This video was a lot of fun to make. I hope people enjoy it!

I continue to write songs that are topically related to social, political and economic issues of our time, but I also recognize that onstage, I have a lot of fun and audiences have a lot of fun, so I'm trying to package the messages in music and sounds that are fun to perform and fun to listen to.

I think the key to directing a great music video is in making sure the song is great, and if it is, then it becomes really fun.

I can tell you that I can always recognize a Boston song, even if it's in a noisy place. I can hear that it's Boston even before I know what song it is. If a Boston song comes on in a club or somewhere, I notice that it's Boston, and the second thing I notice is what song it is.

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 have the most eclectic music taste out there. I can be listening to an indie pop song just as easily as I could be listening to a Carly Simon song from the '70s to a country song.

'Dirt on My Boots' was pegged as the second single from 'California Sunrise' from the get-go, and we felt like it was just a fun song to go with.

Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.

They're always so serious, the orchestras, you know? It's always a fun contrast of that song and the genre of music. And me.

A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.

A song like 'Heartbreaker,' it's a song about learning - it's not necessarily a song about heartbreak. It's more than that. We write those songs to relive how we got over something.

When that much time goes by, you're really listening to your old music differently. At the time it's written, it was the beginning of our career and with every song we're thinking, 'This is what's creating us.' Now, nothing is creating us. We're well-created. We're there. It becomes just pure pleasure and you become sort of an archeologist of your own music. You don't judge it, because what's the point? It's a 30-year-old song. It just becomes fun.

I like the songwriting. I don't ever listen and then go back and change stuff. For me when I wrote the song, it's always really fun and exciting.

Words are important to me, but a song can work and function and be a good song with words that are fairly standard. But really great lyrics can't rescue a dog of a song.

I can have a song with Ariana Grande that is going to be the song for all the kids and the teen girls, and then another song that could be for a different group of people who all love the song. Im with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.

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.

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'.

Everyone from the pope to some hobo thinks, "I'm a human being. What am I doing here?" You can't get carried away with fame and fortune and all that. It's all nonsense. The whole pop-star side of it is all fun and good, but you don't get anywhere without putting in the hours. I get so fulfilled when we play a song live that we spent hours working on. It's all cool. Fame is something to have fun with, but you shouldn't take it too seriously because it is bollocks.

When you get to say something in a song you're not directing it necessarily at one person. When it's in a song it's easier to get it out. I don't really worry so much about it when I'm writing a 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.

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 suppose authoritarians don't like being made fun of because authoritarian rulers have a very inflated sense of themselves and don't like being deflated, which makes it all the more important to continue to deflate them. These are very courageous people around the world who poke fun from inside these societies. So, we now have to broaden the definition of what we mean by "writer" to include bloggers, cartoonists, song writers, visual artists - all these people are, in different ways, quite brave.

It's important to tell the artist's story. It's their song! And it's always more fun to write together with the artist!

It's a really fun hobby to set imagery to music, and finding the right songs for that. Your favorite song in the world might not work at all... for one reason or another.

There's a big song at the beginning [of Sausage Party], and that was really fun to do. It felt like we were living out a dream of being the South Park guys for a minute.

Everything I do is a learning experience. It's still fun to me because I grow with every project and every song.

I can't remember the first song I learned to play on bass, but the first song I learned to play on guitar was 'For Your Love' by the Yardbirds. That kind of was the beginning for me. I thought it was a great song and I loved the open chord progression at the beginning of that song.

A song like "Walkabout", it's totally imitative. The goal of that song was to make people happy, and I've never really made a song to make people happy before. I really genuinely wanted people to listen to that song and have their spirits lifted.

But the reality is when you write a song, you should be able to strip away all the instruments and just have a song right there with an acoustic guitar and a voice, and the song should be good.

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.

Each member does whatever they want with the song and it totally changes it from whatever idea I hear around it. It turns it into a Sonic Youth song and completely away from it being a solo song.

I think 'Country Girl' is one song that can veer into country or hip-hop or rap. You can listen to it and enjoy the humor and the fun in it.

I love words. They're fun. I don't think any word can just be filler. There's no room for it. It's like a puzzle. Every song can be written a million times. How can you say it differently?

I never think of this business as fun. I don't know why. I think I've actually said something about it being fun, but I don't think of it that way. It's not fun, doing it. It's joyful, it's passionate, it's rewarding, it's a pursuit of truth, but I don't think of it as fun. It's not a game.

One of my favorite things is when people will ask for a song that I hadn't planned to play. It is really fun to see if you can remember something, and you don't always. I mean, sometimes it's just crash and burn.

I like having that juxtaposition where you can have a very triumphant sounding song and then throw in all this crazy imagery. That's part of the fun of writing, you know?

You listen to your favorite song just until you're almost getting sick of it, and then it's so fun to rediscover it after a couple of months.

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.

We have this song called 'Radio,' and I wrote that song when we needed one more song for a record. So I went back into the other room and wrote it in 20 minutes.

This song 'All Aboard,' that tune allowed me to expand and kind of offer my audience something totally different because it's not bachata - I'm singing English, and that was really fun.

One of my mottos for 'Currents' was 'Give the song what it deserves.' How would this song flourish? If the song could tell me what it wants, what can I give it? I tried not to dictate it with any sensible or logical decisions.

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.

'Something More' is a song that I wrote not necessarily about country radio, more so about a lot of songs that were being pitched to me. I wrote that after song after song after song was just the same song, just a different melody, so I was just looking for something more to put on the record.

We learn a language through its song, and even if you don't have music you have the song of people you love's voice, and you'll notice that song in their voice.

I want my careless song to strike no minor key; no fiend to stand between my body's Southern song - the fusion of the South, my body's song and me.

I think that I have come at it backwards in a way because a lot of what I'm doing as a songwriter is not incredibly intentional. There's a moment that happens which creates the song or the actual idea for a song, and then I'm like, "Oh, it's this kind of song."

I can have a song with Ariana Grande that is going to be the song for all the kids and the teen girls, and then another song that could be for a different group of people who all love the song. I'm with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.

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.

It's fun to look backwards and be like, "Oh, this song never really worked live before but now it will sound cool with this lineup."

It was a life with purpose. And it was also a lot of fun. Fishing is fun. Hiking up mountains is fun. Building a wall out of river rocks dug up from the bottom of a glacial lake is not fun. Not at all. But it does give a work ethic that you can take anywhere in the world.

When you play the old songs, it's awesome and I love it, but it's not work because everyone already knows it and it's easy. I have to break the crowd in on a new song and that's what is kind of cool and fun.

People who know my music are like 'Yo, that's Steve G-Lover rapping this 'Paper Boi' song. It's hot. I need this song.' It's funny because the song came about so fast, but the idea had been simmering for a while.