Top 1200 Old Songs Quotes & Sayings - Page 16

I started writing an album on flights to Africa and Brazil, but it was crazy because I left the notebook on the plane. It had seven or eight songs in it. After that, I'm not writing any more songs on notebooks - and I keep my Blackberry close!

When you're 20 you can put a ton of old-age prosthetics on and be an old guy, but when you're 70 you can't play a 20-year-old.

I didn't even know the industry of songwriting existed. I thought everybody sang songs and they were only singing the songs that they wrote. So after I found out about songwriting in college, I was like, "Okay, I want to do that."

I moved to Nashville to be a songwriter. I found out that was a job, that someone would pay you to sit in a room with a guitar and make up songs! It is the greatest job in the world. I wrote three or four songs a day. That's what I lived for.

I think my style is quite grungy and punky. I love the '90s and the music from that time, and I love punk music. I'm also a fan of mixing vintage with some high fashion, which links back to my musical taste because I tend to mix old music with newer songs.

All the new songs have been written since the re-issue of Diamond Day. With my first royalties I got a Mac and a little mixer and a keyboard, figured out the basics of a music program, and gradually started to write and record the songs and the arrangements.

I really want to work with Eminem. I know it will never happen, but I would love if he let me do a hook on one of his songs or he featured on one of my songs. It would be incredible. I've just always admired him since I was young.

I started off playing my own songs, just because I saw it as a means to an end almost of, 'Right, if you want to play gigs, you have to write your own songs.' I mean, they were absolutely terrible.

We cut songs that touch us because if they don't touch us first, there's no way in the world we're going to be able to sell those songs to somebody else.

There are songs which even if you listen to repeatedly, you don't end up liking them, but there are some songs which have an instant connection with the listener. 'Ruka Hoon' is that song which instantly clicked with me.

Songs don't wear out. Good songs are good now. If they were a comfort during those hard times in the past, they'll be a comfort in today's age.

I looked through our catalog year by year, and I saw that there were pockets of time when we wrote some terrific songs. Then all of a sudden, we'd go for another two or three months and there weren't great songs.

You know, the European record labels always say, 'We want 12 songs and then we want bonus songs,' and you're going, 'What for? Why?' That's not a record.

So I usually call the songs when I get on the stage, according to what the crowd feels like to me. I can jump from 50 years ago to right up to now, and people will be familiar with the songs. And since we never do them the same way, it's a new experience.

I've covered Avril Lavigne. I like good pop songs, and I don't think there should be any kind of preconceptions about where good pop songs come from.

It's a pretty crazy thing in which I tried to make songs, real songs, not the quick stuff like on a tape. A dose of Kendrick Lamar, a dose of J. Cole... because it's got to be an album that goes [in the] club.

A lot of Woody Guthrie's songs were taken from other songs. He would rework the melody and lyrics, and all of a sudden it was a Woody Guthrie song.

Ever since the Dixie Chicks, the female perspective on country radio has been love songs. I love love songs, but we do have more to talk about, so it's nice that other perspectives are coming back.

Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.

It'll be basically a live album, but it will also include songs, Judas Priest songs, the audience have never heard before, because we felt we wanted to give the kids something else, something they haven't already bought.

I do go back and listen to my songs. I'm biting my fingernails the whole way through, but I do listen. I have a lot of songs I've wanted to re-record just because of how advanced technology is and the different instrument sounds that I'm more experienced with.

I've worked with a lot of 'American Idols' over there and I've worked with the 'German Idol' winner and had songs on 'Australian Idol.' It's a place for songs. 'The X Factor' U.K. is the holy grail.

I could have done a hundred songs, really. It was hard to narrow them down, because I tried to pick songs for the most part that actually did have some effect on me or influenced me in the past.

She sings the songs without words Songs that sailors, and blind men, and beggars have heard She knows more of love than the poets can say And her eyes are for something that won't go away.

Although I was writing songs when I was younger, I didn't feel I had much of a clue as to what I was doing or how I was doing it. There are a few songs from my past where I thought, 'Well, that's pretty decent,' but I didn't have a discipline. I suppose I'm kind of a late bloomer.

There's this Ryan Gosling quote that I steal all the time - I watched an interview with him in Cannes - and he said picking roles is like listening to songs on the radio: There can be a lot of really great songs in a row, but then one comes on that just makes you want to dance.

A label is like a bank with all these really important relationships, and maybe an aesthetic or a point of view. But if you only want to release two songs, you don't need the guy who can talk to all the retailers, because they're not going to stock two songs.

I don't dream songs. I'm more apt to write dreams down and then to be able to interpret them into a song. I also tend to get up and write prose in the morning from which will come songs.

When your hair is rising, that's when you know it's a good song - that's happened to me with some artists and some songs, John Lennon songs or when Nina Simone sings. It's great to make those moments yourself.

Most of my songs are about Jesus. Most of my songs are about the idea that there is salvation, and that there is a Savior. But I won't mention his name in a song just to get a cheap play.

It's true. somewhere inside us we are all the ages we have ever been. We're the 3 year old who got bit by the dog. We're the 6 year old our mother lost track of at the mall. We're the 10 year old who get tickled till we wet our pants. We're the 13 year old shy kid with zits. We're the 16 year old no one asked to the prom, and so on. We walk around in the bodies of adults until someone presses the right button and summons up one of those kids.

Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.

I love pop songs. One that I've heard a lot is 'Shape of You' by Ed Sheeran. I also love mariachi songs by Alejandro Fernandez and Vicente Fernandez.

The Little Boy and the Old Man Said the little boy, "Sometimes I drop my spoon." Said the old man, "I do that too." The little boy whispered, "I wet my pants." I do that too," laughed the little old man. Said the little boy, "I often cry." The old man nodded, "So do I." But worst of all," said the boy, "it seems Grown-ups don't pay attention to me." And he felt the warmth of a wrinkled old hand. I know what you mean," said the little old man.

I'm not bothered by the idea of getting old, or I guess you could say by having arrived at old. I was 10 when my mom turned 55. For 1955, she was a very old mom.

It's taken me to be an older guy, an old man, to have an old man's voice. Because I only liked old men's voices. As a kid, I didn't like pip-squeaked singers.

That's why these songs have lasted as long as they have because they're just about feelings that don't change. They are love songs, they are not specific, those kinds of feelings don't change.

When I'm on stage, the songs that we've chosen to play from the back catalog are things that still resonate with me, and matter to me. And the songs that I couldn't be a part of, we don't play anymore.

I think five percent of all songs can be love songs, and another five percent can be miscellaneous or political, but the rest should just be about medieval feminists.

If somebody wanted to go and find songs of mine to fill an iPod, that aren't on any records. They could probably find dozens of songs besides the ones that are on records.

We don't test out the songs live, and we don't play them for weeks on end in the studio. We have, like, one day to get two songs down. So what happens is, everybody's attention and energy gets ratcheted up. But it's good because it helps us focus.

I do want people to know that the songs that I wrote when I was with women were really about women. And the songs that I've written since have been fairly obvious about men.

My favorite music isn't necessarily the songs that One Direction come out with. That doesn't mean to say I don't secretly really love some of our songs, which I do. My personal tastes... I actually like quite a bit acoustic and more mellow kinds of things.

You can only write so many pop songs before they all sound the same. I got to a point where something overtly melodic and straightforward sounded sort of cheesy to me. Pop songs seemed too manufactured.

You have those songs that are very special to you that you don't want to get ruined by production. Something like 'Start Again' shouldn't be touched. It's a classic-sounding song on a piano and violins and harmonies, and I think those songs are perfect as they are.

I wouldn't just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.

At the beginning of my career, I saw an opportunity to forge new ground and focus on songwriting. Not many people were doing that at the time. Pretty much nobody. I thought I could write some really cool songs that would rise above all these dozens of genres that exist within dance music. I'd make it more about the songs. For the last 20 years, I've been sharing stories of my life through music. I've been writing songs about my life.

I like clever songs. I like songs that make people think and I try to have substance in all my records, even with 'Sweet Dreams' how it was a club record and it was up tempo, but it was melodic and it was, like, lyrical.

I know I'm stronger in the songs than I really am. Sometimes I need to hear it myself. We all need to hear those empowering songs to remind us.

I've been writing songs all along, and since moving to Nashville in the late-'80s, I'd begun writing something like 15-20 songs a year, instead of the typical three or four in previous years.

Rich kids who write songs about food stamps always piss me off. I'm not going to write any songs about that, either.

The songs of Bizet are by a French peer of Rossini. When Rossini stopped composing, he was living in Paris. He also wrote some beautiful songs in French.

A few things I've noticed about myself as a listener, and the music that I relate to and the music that's continued to mean something to me since I was a little kid or a teenager, is that they're songs that tell stories and songs that come from a place of experience.

I didn't fear old age. I was just becoming increasingly aware of the fact that the only people who said old age was beautiful were usually twenty-three years old.

I love A Day to Remember. They really had that style down of doing heavy songs mixed with pop songs when nobody was doing that style of music.

Sometimes I need to reject the music proposed for my songs because the musicians misunderstand that the Fanny Crosby who once wrote for the people in the saloons has merely changed the lyrics. Oh my no. The church must never sing it's songs to the melodies of the world.

I just write songs from the heart, and you never know who'll like the songs. I try to make sure that I don't allow anybody's expectation to weigh on me. I have my own expectation of life. I believe in letting people be free.

This is the bunch of songs I did first, and it's just the type of thing I do. I am a Carter Family girl, so the record is book-ended with Carter Family songs.

I write songs by sitting around in bars, so drinking songs are a little obvious. It's surprising that I don't write entirely drinking songs, since I am, in fact, drinking while writing the song. Drinking and love are the two principal sources of pleasure outside of music. There's only so many sources of pleasure, really. That's about it. Well, there are other arts as well. But none of them are as pleasurable as music, on a physical level.

It's so easy to write songs about misery and hard times and sadness. It's much more difficult to write songs about happy and chirpy stuff.