Top 1200 Protest Songs Quotes & Sayings - Page 3

I would go on the iTunes chart and see the hottest songs, then I'd cover them. People would go on YouTube and search for those songs. That's how I got my views. I'd post two or three songs a week.

I'd always wanted to do an R&B and soul record; a friend with a studio asked to come by and record a couple of songs, maybe just make a 45. Then the songs started to pour out, and pretty soon we had eight or 10 songs down.

I was never particularly a part of the following of tango; I just liked it... most of all, I recognized that the urban content and the approach seemed very familiar and very connected to the songs that I was doing, the kind of songs that I wanted to write - the songs about the street.

A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.

Why is it the songs all end with the good people winning, but in life they don't?" They don't make songs when the good lose," I muttered. "They make war chants against the bad. So there won't be any songs for us.

I'm very lucky that people are able to say, 'Oh, that's that Moody Blues guy!' I'm very fortunate with that. That's all. Without the songs, I think, I'd just be a pretty average karaoke singer. In the end, it comes down to the songs: the strength of the songs.

The essence of songs is neither vocal nor cerebral but organic. We follow songs in order to be enclosed. We find ourselves inside a message. The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.

I've done songs with legends like De La Soul with Pete Rock. I've done songs with B.O.B. I've done songs with Big Kit.

Depending on the story, I don't feel that the music is disappearing. I feel if the story demands songs, they'll have songs. If it doesn't demand songs, you'll have underscore.

Part of doing mash-ups is getting the legal rights to use the songs. If you're going to do a mash-up with five songs, you should probably find 10 songs, because you're only going to get half of them cleared. It's a real collaborative effort.

I've written a lot of songs in the last couple years, but writing a lot of songs doesn't always mean writing good songs.

In my culture we had songs for everything, and that's lost now. There were songs for when people were born, when they died, when they sowed the field, baked bread and they're gone now mostly. I think we need these songs today. One of the reasons people connect to Wardruna in such a personal way is because there is a need for these songs and for that kind of connection to the nameless. Call it nature, god whatever.

I've never written songs about relationships. I've written songs about how I feel. The songs are more about me, than another person. That's the way I like to look at it.

My strength has always been slow songs, so I never deviated from that, I always took care of my base and that's just doing slow songs and just pouring out my heart in songs.

For 'Narrow Stairs', the majority of the songs I brought in were guitar songs - songs we could sit in a room and just play. I can honestly say I had more fun and felt more inspired on this record than anything that we had done in a long time.

Even if my songs are quite sad or quite dark, I don't want my songs to make people sad. It's very important for me that all my songs have some kind of hope or light.

It's not a bad problem to have because a lot of classic acts are known for one or two songs and in their show they basically hold those songs off until the end and you sit through an hour or so of lesser known material but in our case most of the songs are well known.

I love nothing more than to perform my songs in front of a live audience. And whatever I'm doing is driven toward finding or writing songs and putting out hit songs that drive people coming to see me live. Because, at the end of the day, that's what I enjoy the most.

Song writing is about the male-female relationship. Yes, there are songs of, of brotherhood and politics but very rarely do we write about computers or, there are car songs, cars are cool. But even in the car songs, it's, ah, usually gets down to me and my baby and my car.

We call them impact songs, and people buy impact songs. But you just never know what those songs are going to be. One of those songs that really went through the roof for us was 'Big Green Tractor,' which I thought was kind of a fun little ditty song that I never in a million years thought would be as big as it was. But it was.

We jumped into the protest of Vietnam before the Black Panther Party ever started, before the Black Panther Party was even thought of. In fact, it was late 1965 and 1966 that the anti-Vietnam War, anti-draft to the Vietnam War protest started at University of California, Berkeley.

You look at what One Direction has done and just say, 'That is just lucky;' it is not. It is happening because they are talented boys, good looking lads; and yes, their songs might not be the typical songs that lots of radios want to play, but they are great songs, pop records, that are massive across the world selling in huge numbers.

There was the pedestrian who wedged himself into the crowd, but there was also the flneur who demanded elbow room and was unwilling to forego the life of the gentleman of leisure. His leisurely appearance as a personality is his protest against the division of labour which makes people into specialists. it was also his protest against their industriousness. Around 1840 it was briefly fashionable to take turtles for a walk in the arcades. the flneurs liked to have the turtles set the pace for them.

The most entertaining songs don't always come from a nice place. In songs where I think I'm being really sensitive, they seem quite boring actually. I've found that the songs that come out of nastier, more misanthropic places are better.

Won't you help to sing these songs of freedom? 'Cause all I ever have… redemption songs; redemption songs.

When you play all that as a body of work there are four great songs, four mediocre songs and four bad songs. I didn't know it at the time; I was just doing my best.

Here's some free advice; like the folkies of yore, you need to be not just a writer of songs, you need to be a lover of songs, a listener of songs and a collector of songs. If you hear a song in a club that knocks you out or you hear an old recording of a great song you never knew existed, it does not diminish you to record it; it actually exalts you because you have brought a great song from obscurity to the ear of the public.

I have written quite a lot of songs about dealing with my feelings surrounding the disease. I have written songs about the fear and anxiety I have around my disease, and the fear of it coming back. Some of my songs might seem like relationship songs, but are more about my relationship with that struggle.

When I was younger it was a lot of quantity over quality. Just writing, writing, writing. Hundreds of songs. Now it's fewer songs. If I write 10 songs I believe 80 percent of them are good and gonna be used.

I don't really premeditate what I write my songs about; you know, they just kind of happen, and I can't start writing songs to please a certain group of people or propagate a certain message all the time. That's just not how my songwriting works - it just sort of comes out, and the songs are what they are.

Everyone you talk to in the world, whether they know it or not, because the catalog is so vast, a lot of times people have favorite songs that are Motown songs that they didn't even know were Motown songs.

Some people don't have a way of that catharsis and I do, so I'm lucky in that sense that people listen to my songs and enjoy my songs. It's a really important thing for me, it's how I channel everything. I don't really know what I'd do if I didn't write songs.

I was captured by the songs as much as the singer. They grabbed my heart. The reality of Country Music moved me. Even when I was a kid, I liked the sad songs... songs that talked about true life. I recognized this music as a simple plea. It beckoned me.

I like the audience to be engaged with the numbers I am singing and do not repeat my songs at any of my concerts. There are thousands of songs that I have lent my voice to with so many other singers, so why bore my audience by singing the same songs?

Bob Marley songs are my songs. These are the songs that have been passed on to me. Let me say, I wear my family crest, and I represent my family to the fullest.

I don't really like over-explaining the songs. Everyone constantly asks what the songs are about, and I think the thing is that the songs definitely all have stories in them; it's just nice to let people decide what they are. I think it's important that people hear it themselves rather than having me annotate it.

Wonderful songwriting, beautiful production, and deeply rooted in what makes American Roots Music great: Deep Southern Pain. It's the hurt that brings the songs, and it's the songs that heal the hurt. Jonathan's songs bring us there, and back. Check this record out, it's a good 'un.

When I pull into a city and I rent a car and it's Nashville, or it's London, or I'm driving in the taxi to the hotel, and on comes one of my songs, it's like, 'Oh my God, they're still playing these songs on the radio.' And you still feel tearful and very grateful that somebody still likes these songs that you made up.

You don't always get lucky enough to have songs that can breathe and shift meaning. But every once in a while you open up a window and something passes through. It's really nice for me when I discover those songs in my catalogue. It's one of the reasons I try not to get too specific about what my songs mean.

I don't want to sing songs that aren't worth while. Time is so rare. I just don't want to waste the listener's time and I think that my songs don't do that. That's what I pray for. I want songs that really touch people's hearts.

When you hear kids singing your songs it just validates them, they sound like real songs when you hear them back, it's quite refreshing. Like songs that could have been around for a hundred years.

I love Neil Young. His songs were the first songs I learned to play, and I recommend anyone who is starting guitar to learn Neil Young songs first.

If you're going to point out the ridiculousness of a rule, it's naïve to think that you can break it. It's the same way that rappers have embraced capitalism. Some people say they liked it better when rap was a literal protest form in the '90s. But I think it's more a form of protest today, because it's telling the story of what happens once something forbidden is within reach. I think rap is more political today when it speaks about luxury watches than it does about fighting the power.

I've always covered some Dylan songs. I do one or two. And I do them because they're great songs. You know some people cover songs they wish they could have written, not me. I like to cover songs I know I could not have ever written.

On 'Heartbreaker,' I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs. With 'Gold,' I was trying to prove something to myself. I wanted to invent a modern classic.

I've always been aware that probably writing songs - stupid songs or, at least, theatrical songs - is, I dunno, I certainly don't think about that, about my persona on stage. In fact, I work really hard not to address it too much in my head.

He learned through the way that my father and I felt about his songs, his country songs, that they were great songs. And then he went out and sang them for the audiences that we found, and he found a tremendous reaction to that.

I sing songs from the theater and pop songs. When I say 'pop songs,' I mean from the 90's. And I tell jokes. So it's sort of a stand up show meets a concert - not your traditional lounging across a piano cabaret show. It's much looser.

I write songs for myself, songs come out of me, I get enjoyment out of it. Basically, that's it - I get enjoyment out of my songs, I know they're good songs, and know that the people around me who I respect are all getting up on these tunes, and the feedback is really good, so that's it. There are people who will receive them, and don't receive them. Not in a spiritual sense, but in a commercial sense - do these songs treat people, and so far they're working.

Over the years, I've heard pop artists do some Christmas songs, and I haven't fully cared for them. They weren't the traditional Christmas music that I was raised on and love. Thinking of that, I wanted to make my songs mimic the classic Christmas songs.

The thing about Bob Dylan's performative essence is that he keeps singing these old songs as well as the new songs, and the old songs become new with new arrangements and new contexts as time goes by.

If you write great songs with meaning and emotion, they will last for ever because songs are the key to everything. Songs will outlast the artist and they will go on for ever if they are good.

I love Mary Chapin Carpenter songs. I love her songs 'Come On, Come On' and 'I Am A Town', they're two of my favorite songs.

Even writing verses from my first album, there were songs that I didn't use because I just felt that they weren't really for me. But I think that happens naturally when you write songs. You're in a different mood in every session. There's so many songs out there that could potentially be used by other artists.

I write songs on a universal basis. I was born out of the earth of Jamaica which I consider to be a part of Atlantis, the sunk continent, but that's my thing. But I write songs on a universal basis, not like Jamaican songs.

What I like about music is the songs you can remember the lines of in a single second. The Beatles, The Rolling Stones... You can remember every line to their songs. But today, how often do you remember any of the lines to songs? I mean, I know that one of the Lily Allen's last albums is called It's Not Me, It's You. But I don't know how the songs go.

The rest of the songs on the album [Mortal City ] have spare arrangements on them. Steve [Miller], really loved that. He'd just come off of a project with someone who basically had to mask the fact that there were no songs there with production. He said, "Oh, my God, you have real songs here!"

Some of Eminem's rap songs kind of have the teenage love songs like the fifties love songs. It's kind of like domestic drama set to music. He is really good storyteller.

There are still songs that I'm writing. I like to write. I like to take a long time to do my songs, not even the actual writing process, but conceptualizing, getting into the songs. That's why I stopped doing mixtapes.

I like albums where all the songs are written in one go. If you're trying to create the number-one album with the best songs ever, I get why you'd want to write for three years and pick the best ones, but for me, I'd rather hear a group of songs that are all expressing a state, or time of your life. I think it's more that.