Top 1200 Old Song Quotes & Sayings - Page 4

That is the difference between a good song and a bad song lyrically - if you can listen to it and put yourself in that place, or see that person in that place, normally it is a pretty good song.

When I heard 'Jesus, Take the Wheel,' I was like, OK. Some people look at it as a song written for an American Idol, Carrie Underwood, who is wonderful. But when you're a songwriter listening to a song, you hear something else. I heard that song, and wow.

"Jogging Gorgeous Summer" song was inspired by a general feeling of sunshine, feeling good, sitting in the backseat of a car and hearing a song for the first time on the radio and feeling warm. I went back to the house I grew up in, and the people let me in to walk around. I went into my sister's old bedroom, and on the window ledge there was this little handwriting from my sister, and it said, "Jogging Gorgeous Summer." I thought that was a really pretty phrase.

Every song that I record, I love, it's like my new favorite. But one that really stands out to me is a song I debuted on tour with Trey Songz called "Angel". It's a really acoustic sounding and it's a really big song.

In fact I wonder if I should bend my own rules a little and for the sake of writing a good song it doesn't have to been so autobiographical, but that's a stupid rule to live by as some of my favourite artists' songs, they have a song that you think is about their life [which] probably even isn't, but it's a great song.

A lot of early Misfits song titles are inspired by old B-movies, which were my Popeye's spinach when I was a kid.

It's cool when your husband starts to sing some old Merle Haggard song and I can pop in with a harmony and it doesn't sound too bad.

I would love to do a Bond song, and I could have done a Bond song: I was offered a Bond theme, but I turned it down because I didn't like the song. But as it turned out, I was right anyway because the song was the only Bond theme that never became a hit, so I'm glad I wasn't associated with that!

I hate a song that makes you think that you are not any good. I hate a song that makes you think that you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are too old or too young or too fat or too slim too ugly or too this or too that.

I try to write down every song that comes to me, even though I know that every song that comes to me isnt a song that I need to sing.

Wasurenaide is neither my song nor anyone else's song. Because it is the song that belongs to the 5 members of Tohoshinki. Therefore, I don't want it to be sung, neither by one person nor by three people.

Our shows have always been sort of an all-generations thing, people from 6 to 60. The other night, we played a show and we had a woman who was probably 70 to 75 years old, and she was there alone and she was singing every song. On the other end of the spectrum, there was a 7-year-old on his dad's shoulders and the dad is singing along.

There's a song called 'All We'd Ever Need,' which is actually the first song that the three of us wrote together on our first album, and when we wrote that song I didn't have any real experience to pull from.

I try to write down every song that comes to me, even though I know that every song that comes to me isn't a song that I need to sing.

When we went to cover it I thought we would change it to a song of loving and longing instead of the sex machine song Kylie turned it into. I've met Kylie and told her we were covering her song and she was pleased.

I don't really have a set-in-stone process or formula. Sometimes the melody is there and I have to chase down the lyrics. Sometimes, the song is there and I have to make the melody fit. What I've learned so far about songwriting is that I can't force a song. If I try to do that, it's hollow, and people know a hollow song when they hear it. It's the song they stop listening to and forget about. I'd prefer not to write those kinds of songs.

'Carbs' is the first song I wrote, and 'I Wanna Boi' is the second song I wrote. I am very proud of every song I made since then. Anything I'm not proud of I wouldn't show people.

When I enter a club and hear my song being played, I feel like it's not really my song and when I see people dancing to my song, I feel like jumping up on stage and treating them to drinks.

A good song is a nice set of chords and some good lyrics; a great song is a song that reinvents itself over time. That you can always find something interesting in the more you listen to it - it keeps revealing something to you.

A song can be a song where somebody thinks you're crazy. A song that gets released has got to be something that everyone can relate to. Most of the songs that I keep are un-relateable for most people - some of the music I make only for myself and the homies.

I like my name. My mom named me after a song by the 1970s group Bread. So, it's meaningful, and I like the song. It's a love song - kind of - but it's kind of depressing and dark.

If it was never new and it never gets old, then it's a folk song

Whenever we play new material, eventually some of the songs become classics themselves. They can't become that unless you play them. Any new song is not going to go down as well as some of the old stuff, because obviously the old stuff the fans know inside out.

I made my first song when I was 9 years old. Just beating on garbage cans, having people beat box.

I liked the idea of writing a song saying I'm happy with who I am, and I don't mind if people think I'm some old git.

Since I was 9 years old, I knew how to make a song. But when I got older, I used it as a way to express myself.

The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song. What do I write about? I never know.

We've got to rediscover the Manchester United way of playing, and I don't think many teams enjoy their nights at Old Trafford when we're on song.

I learned very early in life that: 'Without a song, the day would never end; without a friend, a man ain't got a friend; without a song, the road would never bend-without a song.' So I keep singing a song.

When I write a song, I always start on acoustic guitar, because that's a good test of a song, when it's really open and bare. You can often mislead yourself if you start with computers and samples and programming because you can disguise a bad song.

The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.

'Soulfire' is a collection of stuff I've done in the past. Each song is an element of who I am: There's a doo-wop song on the album; a blues song, R&B and some jazz. For people who are going to be hearing me for the first time, it's an introduction to who I am.

This was the first time that he has ever looked into the labyrinth of the human soul. He was very far from understanding what he saw. But what was of more value, he felt and suffered with her. In years that were yet to come, he relived this memory in song, in the most beautiful song this world has known. For the understanding of the soul's defencelessness, of the conflict between the two poles, is not the source of the greatest song. The source of the greatest song is sympathy.

Everyone has their own experiences with song. It means one thing to me and it means something entirely different to somebody else. I have a song called 'Apple Cherry' which is a song about unrequited love and to this couple in London, they fell in love to this song. The girl in the relationship called me and said she wanted to propose to her girlfriend could you sing 'Apple Cherry' while I do it? I was like 'Really? That's not a love song about getting together'.

I would say "These Days." It was the title song to an album I put out, and it's really this song that you'll hear throughout the episodes and the season in the show. I write all my music, I'm an independent artist so we do it all in-house and that song embodies exactly what the title says.

HERE It’s- Can I say? It’s like the song of a family where everything’s always all right, it’s a song of belonging that makes you belong just by hearing it, it’s a song that’ll always take care of you and never leave you. If you have a heart, it breaks, if you have a heart that’s broken, it fixes.

You hear a song like 'Wait For It,' you hear a song like 'Dear Theodosia' - if you get one of those songs in a musical - one - it's worth dropping everything to sing that one song.

You don't really write a hit song - you write a great song, and then, if the public decides it's a hit, they take over from there. The song becomes its own monster.

I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.

If I try to write a song, I will completely fail to write a song. But if I'm just holding my guitar and I just start humming, then I'll have a song in an hour.

Longer is not my best song, it's just a classic love song, and every songwriter always dreams of writing a classic love song.

Here's the way the licensing works ... If you write a song, nobody can record your song before you do without your permission. But, once the song is recorded, they can get what's called a 'compulsory license', and they can record the tune, but they have to pay you royalties.

The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song.

It takes a Bobby White to make a tired 90-year-old composer write a song about love.

But we used to go to flea markets and things, and look for old 78 records that had silly song titles.

When I was about 11 years old, I wrote a song with my dad. Then in high school I started more writing.

If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of the street, on the roof of a house. It's clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It's a wordless song, for the most, but it's a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note.

I think my favorite song is by Led Zeppelin called 'Good Times Bad Times,' a Rolling Stones song called 'You Can't Always Get What You Want,' and every song The Beatles ever wrote.

I'm so bad at lyrics. I'm always trying to get better. Sometimes, the song can restrict your lyrics - if you're trying to make a poppy song, you don't want to sing something that sounds like it could be on an At the Drive-In song.

My album is called 'Zero to Infinity' and none of my songs are going to have cheap, dirty lyrics. Every song, in a way, is a women empowerment song. Every song, even if it's a dance track, you'll be dancing on it, but it's the right thing.

The title is 'Tattoo boy' and I haven't heard a song that talks of tattoos. So, I feel people who have tattoos will relate with this song. It's a beautiful song. It has been composed and shot really well. I hope people appreciate it.

When you listen to an album, it shouldn't feel like, "That's the girl song," "That's the club song." I shouldn't know what you're thinking while you're making the song. I don't want to know what the artist is thinking.

No dreams, no visions, no delicious fantasies, no castles in the air, with which, as the old song so truly says, hearts are broken, heads are turned.

I've always had a tendency to keep an emergency exit in a song. I can't remember ever writing a song that is completely and thoroughly depressing; there's always been a way out somehow. A sense of hope in song, regardless of the subject matter.

Sometimes you're inspired by an old-school song that you want to chop up and make a sample out of it. I find that with a lot of older Motown music.

The first song I ever learned to sing and play on the piano was 'I Remember Sky' when I was 10 years old. I remember thinking, This is the most beautiful song I will ever hear. And that remains true for me to this day. His music is the sole reason I wanted to be on Broadway. I wanted to sing music that transports us to the most important place one can travel, our hearts.

That song [You Got To Make It Through The World] came from a vibe I picked up from an old blues singer named Bo Carter. My lady was making a film as a thesis for U.C.L.A. and she wanted me to write a song to depict this character. The movie had something to do with bootlegging and stuff like that. I found this Bo Carter record and he was just saying something about making it to the woods or something like that.

You think it horrible that lust and rage Should dance attention upon my old age; They were not such a plague when I was young; What else have I to spur me into song?

When writing I just go with the song. I go with the song and try to tell the story. So the story may be "Wonderful Baby", which is a little song. Or it might be a gentle song, "Empty Chairs". Or it might be a rock and roll song like "Prime Time" or "Run, Diana, Run", or "American Pie". I don't know where it's gonna go. I don't have any idea what I'm doing. I just do it. I just keep doing it. I keep taking adva

Usually when a song comes to me, I don't ask a lot of questions; I hear something, and I just let it out in song. It's like making a salad. Everything I hear, and everything I am, I mix together in a different way in each song.