Top 1200 Siren Song Quotes & Sayings - Page 10

A song that sounds simple is just not that easy to write. One of the objectives of this record was to try and write melodies that continue to resonate...Everything that happens to you influences your writing...The writing process for me is pretty much always the same-it's a solitary experience...I have yet to write that one song that defines my career...Beck said he didn't believe in the theory of a song coming through you as if you were an open vessel. I agree with him to a certain extent.

People in Ireland take in the whole song. After a long history of great singers and songwriters and poets, they are able to consume the entire song - not just the external; they go inside.

Songs give you incredible opportunity to convey a tremendous amount in a relatively short period of time. The first thing that John Powell, our composer, says is, "Is the song engaging you to tap your toe?" If you're not tapping your toe, it doesn't matter what you're doing in the song, it's not going to work. But, if you can get the audience to be engaged by the song, then it gives you the opportunity to accomplish so much, in a very concise way.

Song: Heloise and Abelard by Elizabeth Devlin. Beyond the a propros subject matter, this lady can really play the Autoharp. This song sounds like something you'd find on a gramophone record.

First, in a love song, or any song for that matter, using a plastic word like "inhibitions" is just completely without feel or texture. It demonstrates a tin ear for communication.

When I'm picking songs for an album I always want a song that I can relate to and that I have experienced. There's nothing worse than watching an artist try and sell a song that isn't believable coming from them.

I think that commercials can really ruin a song. You know that the person sold the song for a good deal of money, and that was the tradeoff. But, music and picture can marry in a beautiful way, and the reverse also.

Today, we live in a time of threats like few others in recent memory. During anxious times, it can be tempting to follow the siren call of the angriest voices. We must resist that temptation. No one who is willing to work hard, abide by our laws, and love our traditions should ever feel unwelcome in this country.

I think it's good if a song has more than one meaning. Maybe that kind of song can reach far more people.

When it comes to song creation, I throw in my ideas and have it discussed with the producer. The song gets its own characteristic as new ideas are incorporated.

This siren, this goat-footed bard, this half human visitor to our age the hag-ridden and enchanted woods of Celtic antiquity. One catches in his company that flavour of final purposelessness, inner responsibility, existence outside or away from our Saxon good and evil, mixed with cunning, remorselessness, love of power.

I don't always have to sing a song. There is something besides 'The Man That Got Away' or 'Over the Rainbow' or 'The Trolley Song.' There's a woman. There are three children. There's me! There's a lot of life going here.

I am very proud of the song 'More & More.' It's a great love song and has really fun choreography attached.

I had this song called Helter Skelter, which is just a ridiculous song. So we did it like that, 'cuz I like noise.

That's one of my pet peeves. People always want to put something into a category - this one or that one. You know, a great song is a great song.

Writing a song doesn't heal things. Even if the song comes up with a solution, it's still only a theory. Going out and living my lyrics is a whole other deal. That takes courage.

I make no claim that Jewish culture is superior to other cultures or that the Jewish song is better than the song of my neighbor.

'Free the Gang,' that's my favorite song because it's so real. All my music is real, it's authentic, but it's something about that song that I love.

Glen Campbell told me, 'Stay out of the way of a good song.' I think it's true. If a song's good, don't overdo it.

I think if you take 'Get Ready,' 'Waiting For The Siren's Call,' 'Lost Sirens' - those three New Order albums were mostly guitar-based. There were a couple of dance tunes in there, but they were mainly guitar-oriented. They came about through jamming, a lot of them.

The first song I wrote was called "You" and it was a love song about somebody who didn't even exist. I remember them all because I used to always write terrible poetry. I keep all my notebooks.

I'm not super superstitious, but if I listen to a song and then I do well, then that becomes my song for however long it works for.

You don't realize how beautiful an idea is until you do it with other people. There's this really shimmery, awesome thing when you start finishing a song - where the song just starts writing itself.

I want to set the record straight for everybody who's been waiting to hear my music. The song that's out on the internet is an incomplete song that I'm still working on. When it's ready, you'll be hearing it from me.

It's a spiritual experience on stage almost every night. Especially, with the song 'Fly.' We were so inspired to write this song and just to hear people's stories and how it's impacted them.

Putting out compilation records, buying the right to music is incredibly complicated. You have to find the writer of the song and the publisher of the song - not the singer - and make two separate deals.

'Nothin' on You' by B.o.B was the first song where I heard myself on the radio. I'd been trying my whole career to write a song like that, which incorporates live instruments with hip-hop and singing.

My favorite kind of song is the most beautiful song that you love so much and it's so good it makes you want to cry a little bit. Any jam can sound like that on a certain day.

If I experience a really difficult moment, write a song about it, and someone on the other side of the planet experienced the same feeling, heard the song, and it helped him that is everything for me.

I just start singing some words with a tune. I don't ever write a song thinking, Now I'll write a song about... .

Lyrics mean a lot to me, and I won't record a song unless I can feel it. That's something I learned from Carter Stanley. Even when he wasn't perfect technically, he got inside a song and sold it emotionally.

Mos is a true artist who has a story to tell and gives back through his music. He remixed my song 'Different' in 2005, and the song we're working on now will be one of my future projects.

I wanted that song 'Saat samundar' in 'Kick.' There are many memories attached to it. The song makes 'Kick' all the more special.

I'll watch a highlight tape of my kicks and I'll play a song that I like the night before the game and then I'll sing that song in my head to visually get myself ready and have positive thoughts.

That song "Futuro" was written by Quique Rangel, the bassist. I wouldn't know how to explain the song, but each would have to give their own interpretation. If the lyrics generate that message for you, then that's good.

Usually a song being hard to write is a sign that the song isn't good enough. It should be like a good kiss. Effortless and smooth.

I would never sit and write a song in front of anyone, because you're so vulnerable. I don't know at what point in the process that it becomes acceptable to pass them on. When a song wants to be written, it will be written. When it does come, I will very rarely go back and edit lyrics. I'm quite a rational human being, and the only part of my life that I can't rationalise, or can't make sense of, is how a song gets written or why.

I had been DJing a dance night in Brooklyn and witnessed the response people had to "The Devil's Dancers" - Oppenheimer's one hit song. All these young people were dancing to this amazing song, completely unaware of whether it was current or not. It was from 1982, but sounded very current. It made sense that a physical record should exist for this song again. It seemed the obvious choice to represent what Minimal Wave was going to be.

If Paul McCartney tells me that so-and-so song is his favorite song, what do I care? What do I care what anybody else says?

We were in this park in Canada throwing a frisbee around, and there was a homeless guy there who swore to God I was Mick Jagger. I kept telling him I wasn't, and he kept thinking I was Jagger and wanted to play frisbee with us. Then he heard a siren coming and thought I called the cops - and he ran away!

I never think any song really feels like a 'hit' - a song either feels good or bad, in my opinion.

I feel I have a responsibility to myself, a responsibility to explain where we're coming from. Because a song or the performance of a song is a lot like a work of art.

I wanted to make 'Mexicana Hermosa.' It's a love song, but it isn't. It's more like a song as if Mexico was the Maria, the beautiful woman that I love.

One of the nice things about a favorite pop song is that it's an unconditional truce on judgment and musical snobbery. You like the song because you just do, and there need not be any further criticism.

My favorite performance would definitely be "Toxic," which was my blind audition song. It was the start of it all and it was a song I had been covering before the show, so it was very dear to my heart.

It's cliche, but everybody says, 'We're all one song away,' and it's so true. The difference between me and the guy down the street busking with his guitar case open is just one song.

Every song you write you think is the last one you're going to manage. You put everything you've got into the song, and you've twisted it and pulled at it and dug in and found a way to complete it. To get another one is the trick.

Pop is like a puzzle: to write a perfect pop song, you never know, and there's so much that can happen in a second with a song.

You want a solo to be structured, a song within a song, but you want it to sound like it's the first time you're playing it, too.

You are my siren,” he said, running his hands along her thighs and down her calves, feeling the shape of her even as the silk of her gown kept them both from what they wanted. “My temptress . . . my sorceress . . . I cannot resist you, no matter how I try. You threaten to send me over the edge.

For the first records I really never thought about anything other than the song itself. I thought that this was what the job of a songwriter was. I was really approaching music from a very different standpoint. To me when I was younger the song was just the melody. I think as I've gotten older and have been recording myself I've become aware of just how many layers can exist within a song besides just the main vocal.

I think every time I play, every show is different, and I think that at a certain point a song isn't about you anymore. It's about the audience, it's about how the song has worked its way into other people's lives and that kind of keeps the meaning of the song new, because you see it reflected in other people every night.

There's something about making a song that everybody can sing and remember, and when you listen to it the first time, you already know the words by the second chorus, like you've always known the song. I'm obsessed with that idea.

What I'm trying to do is just sing what comes to my body in the context of the song. And if you go by the emotion of the song, it's almost like stepping into a city. Cities have certain customs and rules and laws you can break, and that's what I was doing.

I made a point when I made the Ugly Casanova record to not write a song and then say, 'This is a Modest Mouse song' or 'This is an Ugly Casanova song.' The people who were open to it not being a Modest Mouse record liked it.

As a musician or composer, whenever I am recording a song I imagine myself sitting beside my piano and singing the song with a little fear that whether I will be able to perform or not.

I am thinking of the onion again. . . . Not self-righteous like the proletarian potato, nor a siren like the apple. No show-off like the banana. But a modest, self-effacing vegetable, questioning, introspective, peeling itself away, or merely radiating halos like ripples.

A song stylist is, like, to take an old folk song like "Delia's Gone" and do a modern white man's version of it.

The idea is that instead of going to an online retail site ... and buying a physical CD and having it shipped to you, you actually can buy the song and download the song to your computer hard drive.

One of my favorite things is when I'm listening to a song and I find my own meaning in it that I can relate to and I can create my own relationship and bond with the song.