Top 1200 Old Song Quotes & Sayings - Page 3

Peter stood, cleared his throat, and began to hum softly, then sing, slowly building up the song as his voice cleared. He found the old tune, the song of the Sunbird. And as he sung, as his rich voice echoed off the tall cliffs, the birds and the faeries lent him their voice and soon the tune drifted throughtout the garden.

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.

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.

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 like the old days when, if I wrote a song and I recorded it, it didn't mean somebody else couldn't record it.

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.

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.

One of the first places where I started to respond to song lyrics was in reggae music. A lot of what I was responding to were references to the Old Testament. It was not that I had to adapt the lyrics to the sound. Reggae and the Old Testament are bound up together. There wasn't anything that I had to do.

I cannot sing the old songs Though well I know the tune, Familiar as a cradle-song With sleep-compelling croon; Yet though I'm filled with music, As choirs of summer birds, I cannot sing the old songs-- I do not know the words.

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.

I would like to be able to do a song with Ray Charles, before we both get too old.

That old rock and roll song, "looking for love in all the wrong places," it's true.

I recorded my first song when I was 13, 14 years old, and I've been running with it ever since.

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.

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.

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.

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.

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.

[Best original song nomination in 2016] should be Wiz Khalifa for "See You Again," but this is an amazing song and it's easily the biggest song out of any of the songs nominated. It was a huge hit. And really, I'm just happy for Weeknd as a person.

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.

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.

When I was a child, ladies and gentlemen, I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie. So every dream I ever dreamed, has come true a hundred times... I learned very early in life that "Without a song, the day would never end; without a song, a man ain't got a friend; without a song, the road would never bend - without a song." So I keep singing a song. Goodnight. Thank you.

I can remember when I was just, like, about four years old in Compton, and my mother would have me stack 45s, stack about ten of them, and when one would finish, the next record would drop. It was like I was DJ'ing for the house, picking out certain songs and so this song would go after that song.

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'.

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.

The only reason to write a new song is because you're tired of the old ones.

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 decided to do what I do when I was 2 years old. At 2 years old, you know, I heard the sound of a drum playing in the village, and I found my own drum and just picked it up and started playing, the worst song ever written by Wyclef Jean.But it actually started a vibe.

I remember auditioning for record labels and having them tell me, 'Well, the country-radio demographic is the thirty-five-year-old female housewife. Give us a song that relates to the thirty-five-year-old female, and we'll talk.'

I actually did a project with my puppet one time in fourth grade. I made up a song that went with the rhythm to a song I do now. And I had to make up a song about a penguin and research and put information in the song about a penguin. And I sang it with my duck, because I didn't have a penguin puppet, but close enough.

I don't think you could pull one Bob Marley song that didn't have quotes from the Torah or the Old Testament.

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.

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.

The song 'Hymnostic' is kind of a gospel song, and that song is really fun to sing with as many people as possible. And anyone can sing it, you know?

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."

As a songwriter, you try your best to write a good song, and you like nothing better than hearing a good song. It's easy to admire a great song, and you want to share out of enthusiasm.

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.

'In the Pines' is a very old song dating back to slavery. Lead Belly made it popular.

Whenever there is stillness there is the still small voice, God's speaking from the whirlwind, nature's old song, and dance.

I love Emmylou Harris's version of my song, 'Sweet Old World.' Her intonation is great.

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.

Lyrics is the face of any song. The combination of composition, lyrics and singing is what makes a song a song.

When I'm singing a song, I'm in that song, and I'm thinking about what emotions I should bring to the song. Voicing a character was very similar. It was high energy, and I had to really think about the emotion of what was going on in the scene.

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.

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.

?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 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 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.

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.

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.

There's nothing that makes you so aware of the improvisation of human existence as a song unfinished. Or an old address book.

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.

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.

'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.

If I like a song, I'll just keep playing it, and it never gets old.

Beautiful and rich is an old friendship, Grateful to the touch as ancient ivory, Smooth as aged wine, or sheen of tapestry Where light has lingered, intimate and long. Full of tears and warm is an old friendship That asks no longer deeds of gallantry, Or any deed at all- save that the friend shall be Alive and breathing somewhere, like 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. I'm with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.

Anytime an artist puts your name in a song, it's unbelievable. It never gets old.

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.