Top 1200 Popular Song Quotes & Sayings - Page 14

Explore popular Popular Song quotes.
Last updated on November 16, 2024.
A Little Hope' is a song we wrote a couple of years ago and hated the thought of it not getting at least a little attention. It's a song that just makes you smile.
It is against the spirit of our non-discriminating times to openly prefer one sort of music to another, so let's just say that hearing grand orchestral music in a public place is exhilarating in a way that hearing popular music never can be, if only because, in a popular music age, a full orchestra is less familiar to our ears.
Wayne and Drake, it takes them so long to do a song. I understand why, because they want it to be perfect. But I think I can do a perfect song in 10 minutes. — © Young Thug
Wayne and Drake, it takes them so long to do a song. I understand why, because they want it to be perfect. But I think I can do a perfect song in 10 minutes.
If I make a song, and it's my song, like 'Lean On,' we're going to make money off the synchs, the Spotify, and we get to headline festivals on it. That's the model I want to explore.
I played a couple of ideas and then had this unusual texture underneath which was like this little granulated kind of pipe organ almost like a scratchy record which he started [inaudible] brilliantly. "Oh I love that song." And when things go fine, it's good. So he started loving that song and that song was used quite a lot in the movie which is very granulated stuff on the guitar.
Every song means something. Every song tells one of our stories, or a story together.
When I write a song with somebody else in mind, it's putting the cart before the horse. The way I write best is when I allow the song to tell me what it wants to be.
When I feel it, I got it, 'cause, like, on 'Changes,' I didn't never know what that song was, never knew who it was or who did it, but Tom Brenneck asked me to do that song.
'Wafa Na Raas Aayee' is at its core a very pure, simple song. Its beauty lies in its simplicity and who better than Jubin Nautiyal to express the pain and emotions that the song is trying to convey.
In the largest sense, every work of art is protest... A lullaby is a propaganda song and any three-year-old knows it... A hymn is a controversial song - sing one in the wrong church: you'll find out...
When I record, it feels like I'm in a bubble. There's nothing else in my head right then. It's just that song, and I'm trying to really sound like what the song is about.
It was always meant to ease out of a big radio song and flow into the next one. Don't is the bridge song in between Sing and Thinking Out Loud.
The song 'Baby Baby,' I so love that song because I wrote it about my first daughter.
Musically, there's probably nothing better than, after spending weeks or months of grinding on a lyric or a song, when you play a good song from beginning to end for the first time - there's a moment there where all the pain and suffering is worth it.
I think there's just so many people in the world that don't feel understood, and when you hear a song and you go, 'Oh, that song understands me,' that's an amazing feeling. I get it when I listen to the radio... That's a beautiful part of music.
I love that song 'I Could Have Danced All Night' from 'My Fair Lady' so much. I love that song because watching it as a kid, it was such an unbridled expression of joy.
I try to find little things that you can do to move the song along and things that serve the song. — © Benmont Tench
I try to find little things that you can do to move the song along and things that serve the song.
Branding your song is the worst thing you can ever do. That's turning your song into a product.
But I saw this video, not even the whole thing, and I just knew that it was going to be my favorite song for...for the rest of my life. And it still is. It's still my favorite song... Lincoln, I said you were cute because I didn't know how to say--because I didn't think I was allowed to say--anything else. But every time I saw you, I felt like I did the first time I heard that song.
O thrush, your song is passing sweet, But never a song that you have sung Is half so sweet as thrushes sang When my dear love and I were young.
I think I always had a musicality, and I think I could tell a good song from a bad song. And I would appreciate hearing something that was new to me.
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 love writing every song I can like a little mini movie. I like to have a character, or some characters, and really paint a picture with the song.
When you write a song, a song has longevity.
I'm just like anybody else: I have stuff to do in the day, whether that's writing a song or recording a song. I try to treat everything I do as just work.
Even when I write a song, lots of times I think - I wonder what my dad would think of this song.
I've always believed that there's an amazing number of things you can do through a rock'n'roll song and that you can do serious writing in a rock song if you can somehow do it without losing the beat.
If I hear a song like "Time After Time." I'm sittin' there lookin' at video and Cindy Lauper comes on singin' this song. I said, "God damnnnnn!"
'Peter Pan,' I think, was a game-changer. That was the first song that really had some heartbeat to it... I think that's the song that got people's attention.
The lyrics are not an important thing to me. In fact, it can be a distraction. If I knew the language enough to know it was a horrible love song with stupid lyrics - like most of the popular songs are today in the English language that I hear - then it would be much more of a turnoff then if it would allow me to interpret it from the expressive capabilities of the vocalizing or of the sound itself, which allows me to create my own meaning for it, which elevates it into a higher piece of work for me.
I can't speak for everybody, I think, for me, I will not be defined by the lyrics of my song. I am a man who does music. It's like clothes don't make the man, the man makes the clothes. It's, it's like that song don't make me, I make the song.
The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.
I'm not sure if the next song I write is going to be about love or a song about a tree.
Some days I'll be like, "You know what? Why don't I go to my daughter's studio and make a song?!" And then I don't! I don't know if I would have all the time it takes to put into a song.
My philosophy on writing a song for myself is that I always, always, always want to write a song. I always want to write a song. I realize that as a record producer or a singer or whatever I might not, if I recorded on myself or someone else, the first time out I might not give it the right treatment, so that the world or many people will accept it and it'll be a public hit, or anything like that.
That's a nice song,' said young Sam, and Vimes remembered that he was hearing it for the first time. It's an old soldiers' song,' he said. Really, sarge? But it's about angels.' Yes, thought Vimes, and it's amazing what bits those angels cause to rise up as the song progresses. It's a real soldiers' song: sentimental, with dirty bits. As I recall, they used to sing it after battles,’ he said. 'I've seen old men cry when they sing it,’ he added. Why? It sounds cheerful.' They were remembering who they were not singing it with, thought Vimes. You'll learn. I know you will.
I'd just recorded it in Mariah Carey's studio. THey thought the song was perfect for Nina, because she's so shy, so it was nice to have that connection with Nina in the song. It was special.
I always try to get back to the original source of the song. It's not always there in the sheet music, which is sometimes just a sketchy blueprint of what the song is about.
If we cry more tears we will ruin the land with salt; instead let's praise that which would distract us with despair. Make a song for death, a song for yellow teeth and bad breath
I wanted 'Formation' to be a woman empowerment song, but Beyonce made it into a culture empowerment song. — © Mike Will Made It
I wanted 'Formation' to be a woman empowerment song, but Beyonce made it into a culture empowerment song.
Not all popular novelists are good, but all good novelists are, sooner or later, popular.
I have never made it a consideration whether the subject was popular or unpopular, but whether it was right or wrong; for that which is right will become popular, and that which is wrong, though by mistake it may obtain the cry or fashion of the day, will soon lose the power of delusion, and sink into disesteem.
A burst of harmony so brilliant that it almost overwhelmed them surrounded Meg, the cherubim, Calvin, and Mr. Jenkins. But after a moment of breathlessness, Meg was able to open herself to the song of the farae, these strange creatures who were Deepened, rooted, yet never seperated from each other, no matter how great the distance. We are the song of the universe. We sing with the angelic host. We are musicians. The farae and the stars are the singers. Our song orders the rhythm of creation.
The song 'Innocent' is a song that I wrote about something that really, really emotionally impacted me.
When you write a song, a song has longevity
When I was five years old, me and my cousin got into a fistfight because when "That's the Way (I Like It)" came on the radio, he said, "That's my song," and I said, "No, that's my song."
How we absorb music is unique. I know what I do. When I'm listening to music, I tend to find myself in a song. That's what really makes you connect is if you feel what that song is saying.
There's a pervasive feeling that when somebody sings a song and records a song on a record, that it's their true feeling.
People are consuming more than ever, but I think they want a bit of honesty and depth. Adele, Gotye, Janelle Monae - they're giving you a catchy song, but it's also a challenging song at the same time.
Everybody wants to write a hit song, but in Nashville people want to write the best song, which was my original intention as a singer/songwriter.
It varies from song to song, although Buck Owens and I recently collaborated on writing a duet together and am looking forward with a great deal of anticipation to recording that track for the new studio album.
I never tell my artists how to rap or how to approach a song. I let them do the song. — © Yo Gotti
I never tell my artists how to rap or how to approach a song. I let them do the song.
Once the song is done and recorded, I like to go back and then cut the drums, because then I know exactly what the song needs, and what it doesn't need.
I think the emotion that song carries makes it good. Because you have to produce around something - an emotional attachment and a feeling. The melody itself has a feeling in it. The keys, the tones, frequency, sonics, all of those have feelings in it. Like, it's the ghost within, the music itself. That's what makes the song even have a possibility of being great. The emotional connection. Because if you don't have that, I don't think you really have a song.
He sang his last song. And the words of that have never been written down. But it was sweet and of great beauty, and those that heard it were changed utterly. Some say it was the song that moves the stars.
When I sing, I try to live the song or live the emotion of the song. The space I'm in doesn't exist. It's another world.
I try to write songs just for the song itself. I don't try and think about where it's going to end up, that way you're writing for the good of the song.
Even in the beginning, when we knew there was a legal argument about how much our song sounds like his song, as one songwriter to another, I wasn't sure that Cat Stevens would take that as bad.
I did enjoy singing the song, called "The Count", which is Count Olaf's big song that he sings to the kids when they first arrive with his henchpeople. He wrote it himself, and he thinks he's really, really talented, and it's a terrible song. So we had to learn intentionally bad choreography... We did these almost Lady Gaga-ish kind of movements, which were just awful, but that made me laugh
Even Crazy Horses is a good song, by the Osmonds. I've known many bands who have covered that. It's just a great song. I bought it in a brown, paper bag because I didn't want anyone to know I had it.
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