Top 1200 Old Song Quotes & Sayings - Page 19

I have a song about being in love. I have a song about being supportive. There's inspiring ones, and there's some that show a little bit more fun and daring. It really is a range of who I am.

Like anything important, anything you need people to hear - you've got to have music for it. You've got to make it at least a little piece of a song or sometimes a whole song.

When I was a little girl, my dream was just to hear my song on the radio. It was very fascinating to me, and I was like, 'How do I do that?' Now it's like, 'Oh my God, my song is on the radio!'

Sometimes I dream song ideas. I write a song in my dream, the melody and everything. But then sometimes I can't remember them. I think later on, I probably do.

'7 Years' is, you could say, a song that eats its own children. That we need to get past the song and get to the person and get to the record and get to the music so we can keep releasing.

There's nothing like that feeling of having just written a song that you know is 'the song,' and you know it's really great, and you can't wait to share it with people; you can't wait to record it.

An old market had stood there until I'd been about six years old, when the authorities had renamed it the Olde Market, destroyed it, and built a new market devoted to selling T-shirts and other objects with pictures of the old market. Meanwhile, the people who had operated the little stalls in the old market had gone elsewhere and set up a thing on the edge of town that was now called the New Market even though it was actually the old market.

You can make a hit song in 15 minutes. I don't know about someone else's song, but songs that people like of mine, I've created in 15 minutes or less.

Solace is my favorite song. It was the last song we wrote for the record. It was right when we really started to mesh as far as music goes and we started really connecting with each other.

I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.

The love song must be born into the realm of the irrational, absurd, the distracted, the melancholic, the obsessive, the insane for the love song is the noise of love itself and love is, of course, a form of madness.

We made the song a big part of the story [Sausage Party ] itself, in that it's kind of their prayer that they say every morning, because we found that just to have an arbitrary song felt too unrealistic within the reality of our talking food movie.

Whether it's an inspiring song or whether it's an entertaining song - whatever it might be about it - I just want people to feel the emotion that I put into it because I think emotion... is everything.

I thought of my father's wisdom, as though it were buried in a box under a tree. As in the old song - a gold box with a silver pin. Some day I should be grown up, and I should dig up the box and turn the pin.

I spend a lot of time thinking about this business of letting go - letting go of the children God gives to us for such a brief time before they go off on their own; letting go of old homes, old friends, old places and old dreams.

I'm just the instrument for the song to do whatever it's supposed to do-heal, inspire or encourage. It's not all about me, it's about the song. I'm just the lucky girl who gets to sing these songs.

You're always going to write and draw inspiration from things that you're feeling, things that you've felt. It's kind of impossible not to unless you're writing a song and there's an exact scenario that you're trying to write a song for.

Writing a love song when I was 19 is very different than writing a love song when I'm 25. You're more sophisticated; you can elaborate and pinpoint special things a little clearer.

I think 'Tattoo's a song that can go so many different ways. Some people think of it as a break-up song, but, for me, it's about somebody who comes into your life and really touches you - be they a friend, a family member or someone you're in a relationship with.

It's that feeling when you hear your favourite song. That feeling, whether you're in a car, at a party or alone at home or in bed and you hear this song and it just hits you so strong - that’s what we aim for.

I will never joke about old soldiers who try to get to reunions to talk over the war again. To talk of old times with old friends is the greatest thing in the world.

A lot of ideas took us to dead ends or we found the tone wasn’t just right. I think we discovered very quickly this wasn’t just a song to end The Battle of the Five Armies — it was a song to say goodbye to Middle-earth.

I use music as a tool for my own personal sanity, one might say. After a long day or something, I can always come home and sit down and play a song, or write a song, just relax and kind of space out with my guitar.

As for me, I rarely write a song. But when I do write a song, like "Ain't No Chimneys in the Projects," which came to me at three a.m. one morning, on a whim - I get a percentage.

Well after 'Fast Car' was so huge, everyone was asking me, 'What's the next song?' At the time I just had ideas I was working on, but it was very clear I needed to finish another song ASAP, and that's how 'Perfect Strangers' came about.

When I play the first few notes of a song and people start screaming, I think: 'That's why I did this. That's why I wrote this song. That's a good job.' And it is a job.

The woods were made for the hunters of dreams, The brooks for the fisher of song; To the hunters who hunt for the gunless game The streams and the woods belong. There are thoughts that moan from the soul of the pine And thoughts in a flower-bell curled; And the thoughts that are blown with the scent of the fern Are as new and as old as the world.

I've always gone to see all kinds of shows and stole what I could, as we all do. We see an artist and hear a song and think, 'I bet I could sing that song. I'll put that in my show.'

A classic song is timeless. You'll never outlive a classic song. I'll never put The Beatles 'In My Life' on one day and say, 'That doesnt move me any more.'

It's all a big hoax, honey. I never wrote a song in my life. I get one-third of the credit for recording it. It makes me look smarter than I am. I've never even had an idea for a song. Just once, mybe.

One of my side strange abilities is to hear a good song, no matter how it's being performed. Even if you get a bad performance, I can still hear that there's a good song.

Sometimes I'll have a whole song done without having a beat - I'll just rap on an instrumental tempo and recreate a whole new song just around the lyrics.

Well, I Am... I Said was a very difficult song, very difficult because I really had to spend a lot of time thinking about what I was before the song was written.

Of all the songs that I've written since I was 15 or 16, every song is different every song is special, it happens in a different way and I like that.

Nobody's favorite movie is some dark, dysfunctional slasher story. Everybody's favorite song is a sentimental song. So why all of a sudden is it bad to be sentimental in books?

Dance routines for 'Meta Taro' are easy to remember, so this is a song for every generation from little kids to seniors to enjoy our shows by dancing together. I hope the song will be a gateway into metal music for the non-metal audience.

It usually takes me 20 to 90 minutes to write a song because once I start, I don't stop. If I start writing a song, and you try to have a conversation with me, you're a bad person.

I definitely don't wanna be known as the 'Up Down' guy. I love singing that song, I love that song, but yeah, there's definitely more to me than just a party for sure.

When I'm on a stage, it's just me, singing a song with words that I wrote and I believe in. And if I don't believe in them anymore, I'll stop singing that song.

There's a bit of hope that a song can be about anything. If you want to write a song about anything, you can, and you don't have to put it through the process of having it be trendy or cool or generic pop or these types.

Often the 'lead' of a classical song will have something really cool to its melody that - even though it might be a violin or something doing it in the song - I end up wanting to try something like that with my voice.

I'd write songs like 'One Big Holiday,' and we'd play it and say, 'It's too heavy for 'At Dawn.' Let's save it for the next one.' We had more time for that, but when you mix a song, the general rule of thumb for us is a song a day or usually a day and a half.

LATE will always be the most important song to me. I used to struggle to perform it live without getting upset but have performed it a lot now, which has really helped. Very often it makes people in the audience cry, and that means so much to me that they can relate to the emotions in the song. It was actually a really easy song to write, I wrote most of it in one day... it sort of flowed out of me. I was never good with dealing with emotion, so I think I kind of needed to write it!

What I love about 'Midnight Train' is that it's a song about a journey, but the music actually takes you on that journey. It feels like you're moving through the whole song.

There are two things John and I always do when we're going to sit down and write a song. First of all we sit down. Then we think about writing a song.

People are always talking about the old days. They say that the old movies were better, that the old actors were so great. But I don't think so. All I can say about the old days is that they have passed.

Every song is a long process. First I have to write a story for it, and then to make it into a song, I have to make it short and then shorter - so it's not easy!

I've written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.

If you were to say to me that you needed a romantic and sentimental song in four hours, I would have that song written in four hours.

I can't bear working with a click track, we're not click track people. But for "Mercy Is ..." we all got in one mind because the song is delicate; it's not a song that showcases a vocal or some virtuoso.

I didn't say I wasn't gonna do rockabilly. I just said I ain't gonna sing no song that ain't a country song. I won't be known as anything but a country singer.

Milionaria' is the first song I've composed and I published in Catalan, it's also the first song I do inspired by Catalan rumba. I started it in Seville while I was waiting at the airport and I finished it in Barcelona.

I'll flip samples where one's a completely dark song and the next one is a complete sexual song. People think my whole thing is a dark thing, but I don't.

I don't want to be somebody who stands still and sings pretty. Each song is a world. Each song is a story. I don't achieve nearly what I want.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

Music is shared. It's a shared feeling; that's what music is all about. When you listen to a song with someone else, it becomes more than just a song. It defines relationships.

I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.

Congregational singing is a holy act, and as I organize my thoughts, I hear my old pastor, Alistair Begg, reminding me that in our song worship, we have to be spiritually alive (dead people don't sing), spiritually assisted (through the enabling of the Holy Spirit), and spiritually active (committed to daily walking with the Lord).

There's a song called 'My Faith' that's kind of my spiritual song on my record. It's a little bit of my softer side of me, comin' out of left field a little bit.

If I'm inspired to make a certain kind of song, I'm going to make that kind of song, no matter if it's what they know me as or think I am.