Top 1200 Funny Song Quotes & Sayings - Page 20

It was a slow process. You gotta remember I hadn't recorded a song sober in seven years. So it took me awhile to even feel like I could record a song sober.

The name Downhere comes from a song I wrote after a friend of mine died in college, and it was kind of the first time I was dealing with loss and, you know, real mortality, and it was a song of how down here on Earth, we don't have the big picture.

Race makes things funny. A black guy driving in NASCAR: not funny. A black guy driving a car sponsored by Tide: not funny. A black guy driving a car sponsored by Aunt Jemima: hilarious.

Sometimes, if a song is written, in essence, to be that stripped down, it's very touchy when you start adding things, because even the smallest thing can have a huge impact. Somebody has to make the decision that there's a better song in there if there's less.

Mentally, I write myself a little story. Of course, sometimes you have a song that says, "Do that." My best example is Singin' in the Rain. Arthur Freed had insisted that the song should be in the picture, but he was very anxious about it.

I think the Beatles is one band that, if I'm working on a song arrangement or if I have some idea for a song, and there's a little bit of a Beatles quality to it, I never avoid that. I always will steer into it.

I can picture the color of the song, or the shape of it, or who it is that I'm trying to appeal to, in the song, and what I'm trying to, almost, reinforce my feelings for. And I know that sounds sort of vague and abstract, but I've got a handle on it when I'm doing it.

Nothing funny about happy people. I don't know, you just look at a situation or a life, and you can kind of pick up the areas of conflict and delve in there, because that's where the most story is. If someone's happily married for 20 years, that's great, but it's not that funny.

There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.

I don't want an angry song with no silver lining ending up on my album. Then I'd have to play, or feel obliged to play, that song every night in repetition as a mantra of anger.

I hear a really good pop song every now and then. 'ROAR' by Katy Perry, I love that! 'Poker Face'... Oh! What a song! And 'Rolling in the Deep'... Oh!

You bet being funny helps accomplish things. I've always maintained that people don't realize how many brain cells it takes to be funny. And politics ought to be fun -- after baseball it's our next favorite national pastime.

The first time I ever had a song play on a legit radio station, I think I was about 13. It was a song of mine that I had written called 'Young Blood.'

Wonderful Christmas Time' is a Christmas song but it was supposed to be an attempt at a traditional song.

The melody and the structure of a song always comes first for me, so the emotions behind it can sometimes be a challenge: What am I feeling about this song? Where did the melody come from? I want it to be heartfelt.

Eddie Murphy said once in an interview that nothing is offensive if it's funny. I sort of agree with that, but if something's funny and you're the subject of it, sometimes it's more offensive. If someone's insulting you, you want them to sound like an idiot.

For me, a song doesn't really take flight until it has a lyric on it. ...Without a lyric that I'm happy with, it could be the greatest song ever melodically or arrangement-wise, but it doesn't have any resonance.

The simpler the message, the broader the meaning, in many respects. I think about a song like Free's 'All Right Now,' which I'm often asked about. It's that sort of song.

The song This Kiss was definitely my breakthrough song. After that, Breathe was my breakthrough album.

Vicodin, I got addicted to that little pill. The reason I don't talk about it too much in the press is because it isn't funny, and I love to be funny in interviews. If you joke about that period in your life, it doesn't seem right.

In Georgia where children work day and night in the cotton mills they have just passed a bill to protect song birds. What about the little children from whom all song is gone?

You have to connect with a song, and when you write it, that connection is already there. It's your baby; your passion is in that song.

One night I went to this comedy club and paid a hard-earned $5 to get in, and every comic that came up was dry as an old turkey wishbone, as in not even close to being funny. When you're broke and you pay $5 to see somebody, you want them to be funny.

A lot of time when I'm creating songs, they're in real time. When I'm writing the song, I feel what I'm feeling for its full potential. As soon as the song is over, I'm like, I created art.

I think trying to be hot is the antithesis of trying to be funny. If you're aware of what you look like, or you're trying to... you can't be truly funny.

I'm a songwriter. So I'm OK. But when I wrote "Stand By Me" as a song and to know that the song will probably be here for hundred and hundreds of years to come, it's great, you know. And it was just simple lyrics.

My brother had written 'Ocean Eyes,' and we recorded it, basing all of the production around contemporary and lyrical dance. I think of most songs that way - if you can't dance to a song, it's not a song.

Something funny certainly happens when palladium and platinum come into contact with hydrogen gas; it's one of the great mysteries still waiting to be solved on the periodic table. But it's quite a leap from 'something funny' to cold fusion.

On 'The Simpsons,' I will say that we definitely like to comment on what's going on in the world, and we try to be funny. If we can figure out a way of being funny about it, then we've gone part of the way of accomplishing our task.

I think that a good song is catchy, and a great song is not catchy - but it has a deeper meaning.

There have always been funny women. But in some ways, it takes a while for there to be women who were watching women on television for years and then grow up and think, 'I could do funny stuff.'

There are so many songs that have become massive hits merely because the video is great, while the song is pretty rubbish. From that point of view, I think I've always preferred to listen to a song rather than look at it.

I don't really listen to rock music anymore. But were I to write a song that sounded like it could be a rock song, I'd probably give it to the Pornographers, and I'd be excited to try to make it work.

In sixth or seventh grade, my teacher assigned me to write and sing a song. I remember sitting at the piano in my living room, trying to get that song perfect. That was the moment I realized I really love doing this.

So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.

To me, a song is a song when you can sit in a room and just sing it from end to end.

The reading of the song is vital. The written word is first always . . . first. Not belittling the music, but it really is a backdrop. To convey the meaning of a song you need to look at the lyric and understand it.

When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.

What really surprised me was that we had released the song 'Kondoram'... without any video and it still garnered so many views. The song had only lyrics and no visuals.

Jeff always had a huge part in making a song a record. You felt like you were capturing lightning in the studio. It was never boring. He always was there to serve the song.

It is not enough to have a song on your lips. You must also have a song in your heart.

I can write a song about my hero Che Guevara and call it 'Song for Che.'

The song that we hear with our ears is only the song that is sung in our hearts.

'Sweet Summer Day' was inspired by wanting to write the perfect summer song! Both Chaeyoung and myself had ideas for lyrics, and the song formed naturally!

You can write a song for someone, and then their mom doesn't like it, and then it doesn't get released. It could be the best song that you've ever written. I hated that, because I didn't have any control.

I wrote a song at age five about algae on the pond by our house, then the next 'real' song was in fifth grade about an unrequited crush.

I was travelling a lot, during the release of 'Dilbar,' to various countries, and the song would be played at random places like lounges, coffee shops, streets, and I realised the song had reached levels that was beyond India.

A song like 'Shooting Star' - the thought process behind writing that song was that I looked around and thought, 'Wow, there's a lot of people dying at that time in the music business.'

My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.

A cultural thing that is funny to me is that every time I go out in D.C. after a show, all the nightclubs and restaurants are owned by Iranians and Afghans. It's funny to me how we lost our countries but we gained the nightlife.

And this shall be for music when no one else is near, The fine song for singing, the rare song to hear! That only I remember, that only you admire, Of the broad road that stretches and the roadside fire.

Okay, a truly great song is a song that makes its own aesthetic intentions clear and then lives up to them and exceeds them in an interesting way. Alright?

You know One Direction do a lot of up tempo songs, but when they did that Ed Sheeran song 'Little Things,' that was probably their biggest song off their last album, so it shows you that a ballad never goes out of fashion.

With 'Philharmonics,' I had to do a lot of interviews, and it was like I was corrupting something. In many ways, I've said everything in the song. And either I can't go back to what it was because it's changing when I play it, or I still haven't figured out what the song is about.

I came upon whatever I'm doing organically. I didn't study anything. I don't have any real aspirations other than to connect with somebody, and to have the conversation be genuine. That's the best that can happen. Even if it only happens for 10 minutes in an episode. But I think what people forget is that you don't have to try to get a comedian to be funny. Comedians are innately funny. That the real challenge of talking to them is to get them talking about real things and then see where they need to be funny. And let them do that on their own volition.

As a songwriter you have an umbilical cord to the song and it's hard to expand on your understanding of the lyrics. Whereas when you cover a song you can create your own reason why you're attached to it.

In a funny way, acting, to me, is all make-believe, even if the film has unicorns in it or is a normal movie that can be set in real-life time. I'm still imagining that I'm a different character, so it's all, in a funny way, like fantasy.

You must pass your days in song. Let your whole life be a song.

Josh Graves laid down the dobro on that song [The White Trash Song] and he was hot. We went on the road together and we'd get drunker'n hell every night! I haven't had a drink since November, 1979. And I like it.

When I first heard my song 'Georgia Peaches' on the radio, I opened up the car windows and started screaming to the other people on the road, 'My song's on the radio!' Of course, I wasn't driving.