Top 1200 Popular Song Quotes & Sayings - Page 15

And this shall be for music when no one else is near, The fine song for singing, the rare song to hear! That only I remember, that only you admire, Of the broad road that stretches and the roadside fire.

You know One Direction do a lot of up tempo songs, but when they did that Ed Sheeran song 'Little Things,' that was probably their biggest song off their last album, so it shows you that a ballad never goes out of fashion.

Any one thing can get in the way of you and your brain being comfortable and being inspired. It's the difference between a really big song and a song that never existed.

I can picture the color of the song, or the shape of it, or who it is that I'm trying to appeal to, in the song, and what I'm trying to, almost, reinforce my feelings for. And I know that sounds sort of vague and abstract, but I've got a handle on it when I'm doing it.

The name Downhere comes from a song I wrote after a friend of mine died in college, and it was kind of the first time I was dealing with loss and, you know, real mortality, and it was a song of how down here on Earth, we don't have the big picture.

Don Quixote was a song for a 1969 Michael Douglas movie called Hail Hero! I wrote the title song for the film and they also used the Don Quixote one I had submitted.

My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.

All my earlier awards were for a particular film or a song. Even the Oscar or the Grammy was for a particular song, but Dadasaheb Phalke is for my entire work so it is the biggest honor for me.

The first time I ever had a song play on a legit radio station, I think I was about 13. It was a song of mine that I had written called 'Young Blood.'

For me, a song doesn't really take flight until it has a lyric on it. ...Without a lyric that I'm happy with, it could be the greatest song ever melodically or arrangement-wise, but it doesn't have any resonance.

I don't want an angry song with no silver lining ending up on my album. Then I'd have to play, or feel obliged to play, that song every night in repetition as a mantra of anger.

A lot of time when I'm creating songs, they're in real time. When I'm writing the song, I feel what I'm feeling for its full potential. As soon as the song is over, I'm like, I created art.

When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.

Wonderful Christmas Time' is a Christmas song but it was supposed to be an attempt at a traditional song.

I think that a good song is catchy, and a great song is not catchy - but it has a deeper meaning.

There are so many songs that have become massive hits merely because the video is great, while the song is pretty rubbish. From that point of view, I think I've always preferred to listen to a song rather than look at it.

Jeff always had a huge part in making a song a record. You felt like you were capturing lightning in the studio. It was never boring. He always was there to serve the song.

There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.

I was just fooling around with the piano and Todd [Phillips] was like, 'Hey there's a great spot in the movie [The Hangover] where we need a little bit of a breath in the narrative. You should write a song and stick it in there.' And I was like, 'Well, what should the song be about?' And he said, 'The tiger.' 'Oh, okay.' So I went off and I wrote this song. I came back and Todd and I tinkered with it a little more and then we shot it right then. It all happened in a day.

Looking at polls of Arab public opinion, you look at popular figures, the most popular figure is the prime minister of Turkey, Erdogan, and then it goes down the list. You get Osama Bin Laden, Saddam Hussein, you don't get Obama, or in fact any western leader. The public doesn't want the whole imperial project. So if you had democracy, it would be all over.

Okay, a truly great song is a song that makes its own aesthetic intentions clear and then lives up to them and exceeds them in an interesting way. Alright?

I think a song that's got something to say. I'm not much on gimmicks. I never have been because they don't last. But I like a song that tells a story and has some meat to it, you know, that means something.

As a songwriter you have an umbilical cord to the song and it's hard to expand on your understanding of the lyrics. Whereas when you cover a song you can create your own reason why you're attached to it.

'Sweet Summer Day' was inspired by wanting to write the perfect summer song! Both Chaeyoung and myself had ideas for lyrics, and the song formed naturally!

I remember watching films in my teenage years, and you'd be in love with Leonardo DiCaprio, and then a song would come on. You'd love that song forever; it changed your life.

I think the Beatles is one band that, if I'm working on a song arrangement or if I have some idea for a song, and there's a little bit of a Beatles quality to it, I never avoid that. I always will steer into it.

The simpler the message, the broader the meaning, in many respects. I think about a song like Free's 'All Right Now,' which I'm often asked about. It's that sort of song.

Mentally, I write myself a little story. Of course, sometimes you have a song that says, "Do that." My best example is Singin' in the Rain. Arthur Freed had insisted that the song should be in the picture, but he was very anxious about it.

With 'Philharmonics,' I had to do a lot of interviews, and it was like I was corrupting something. In many ways, I've said everything in the song. And either I can't go back to what it was because it's changing when I play it, or I still haven't figured out what the song is about.

Anywhere in the world, in every oppressive country, time sooner or later comes and libertarian people sing the same song: Goodbye Mr Dictator! This is a universal law, this is a universal song.

Sometimes, if a song is written, in essence, to be that stripped down, it's very touchy when you start adding things, because even the smallest thing can have a huge impact. Somebody has to make the decision that there's a better song in there if there's less.

Josh Graves laid down the dobro on that song [The White Trash Song] and he was hot. We went on the road together and we'd get drunker'n hell every night! I haven't had a drink since November, 1979. And I like it.

I don't really listen to rock music anymore. But were I to write a song that sounded like it could be a rock song, I'd probably give it to the Pornographers, and I'd be excited to try to make it work.

In Georgia where children work day and night in the cotton mills they have just passed a bill to protect song birds. What about the little children from whom all song is gone?

So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.

I don't claim to know a lot about Mexico, but I did talk to quite a number of left Mexican intelectuals, and they all said the same thing. That there's a lot of popular, kind of, concern and activism, but it is very fragmented. That the groups have very specific, narrow agendas and they don't interact and cooperate with one another. Ok, that's something you have to overcome to build a mass popular movement. And that's, media can help, but they also benefit from it.

A song like 'Shooting Star' - the thought process behind writing that song was that I looked around and thought, 'Wow, there's a lot of people dying at that time in the music business.'

It was a slow process. You gotta remember I hadn't recorded a song sober in seven years. So it took me awhile to even feel like I could record a song sober.

The song that we hear with our ears is only the song that is sung in our hearts.

The reading of the song is vital. The written word is first always . . . first. Not belittling the music, but it really is a backdrop. To convey the meaning of a song you need to look at the lyric and understand it.

You must pass your days in song. Let your whole life be a song.

Things that excite me are these four different bands: Wire, with a song called 'Champs,' Misfits, with a song called 'Hybrid Moments,' R. Stevie Moore, and Wipers 'Wait A Minute.'

I don't, really a fashionable person. I'm an actor, so I like costumes. But fashion is very popular now. Really overly popular. It's like New Age music in the '80s, or art. And then independent film. Now everyone's a fashion designer. It's had a big effect in New York, in our culture.

I just saw Twilight on TV, for the first time, a few days ago, and, when my song came on, I was just thinking that is so bazaar that I actually had a song in the movie.

I'm sure there's going to be some material from This Is Not Going To Be Pretty. I usually use that song to just introduce myself to the audience, although the patter in between the song is always different.

I wrote a song at age five about algae on the pond by our house, then the next 'real' song was in fifth grade about an unrequited crush.

What really surprised me was that we had released the song 'Kondoram'... without any video and it still garnered so many views. The song had only lyrics and no visuals.

When I first heard my song 'Georgia Peaches' on the radio, I opened up the car windows and started screaming to the other people on the road, 'My song's on the radio!' Of course, I wasn't driving.

It is not enough to have a song on your lips. You must also have a song in your heart.

In sixth or seventh grade, my teacher assigned me to write and sing a song. I remember sitting at the piano in my living room, trying to get that song perfect. That was the moment I realized I really love doing this.

The song This Kiss was definitely my breakthrough song. After that, Breathe was my breakthrough album.

I hear a really good pop song every now and then. 'ROAR' by Katy Perry, I love that! 'Poker Face'... Oh! What a song! And 'Rolling in the Deep'... Oh!

The melody and the structure of a song always comes first for me, so the emotions behind it can sometimes be a challenge: What am I feeling about this song? Where did the melody come from? I want it to be heartfelt.

My brother had written 'Ocean Eyes,' and we recorded it, basing all of the production around contemporary and lyrical dance. I think of most songs that way - if you can't dance to a song, it's not a song.

To me, a song is a song when you can sit in a room and just sing it from end to end.

I'm a songwriter. So I'm OK. But when I wrote "Stand By Me" as a song and to know that the song will probably be here for hundred and hundreds of years to come, it's great, you know. And it was just simple lyrics.

With gas cookers and chip pans in every kitchen, the chip-pan fire was by far the most popular method these Proddies had for burning their houses down. The second technique was the ever popular chimney fire and number three had to be the drunken cigarette drop on the carpet. Mind you, why they'd be cooking chips at this hour was anyone's guess.

I can write a song about my hero Che Guevara and call it 'Song for Che.'

I was travelling a lot, during the release of 'Dilbar,' to various countries, and the song would be played at random places like lounges, coffee shops, streets, and I realised the song had reached levels that was beyond India.

You have to connect with a song, and when you write it, that connection is already there. It's your baby; your passion is in that song.