Top 1200 Siren Song Quotes & Sayings - Page 12

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 try to find little things that you can do to move the song along and things that serve the song.

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.

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

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.

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.

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.

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'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.

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.

'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.

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.

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 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.

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.

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.

The stage is more beholding to love than the life of man. For as to the stage, love is ever matter of comedies and now and then of tragedies; but in life it doth much mischief, sometimes like a Siren, sometimes like a Fury.

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.

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.

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.

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...

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

The song 'Baby Baby,' I so love that song because I wrote it about my first daughter.

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.

There's a pervasive feeling that when somebody sings a song and records a song on a record, that it's their true feeling.

I wanted 'Formation' to be a woman empowerment song, but Beyonce made it into a culture empowerment song.

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.

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.

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 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.

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.

'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!

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.

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.

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.

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

Fish gathered to look at us - a school of baracudas, some curious marines. SCRAM! I told them. They swam off, but I could tell they went reluctantly. I swear I understood their intencions. They were about to star rumors flighing around the sea about the son of poseidon and some girl at the bottom of Siren Bay.

Branding your song is the worst thing you can ever do. That's turning your song into a product.

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 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.

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.

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.

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.

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.

I never tell my artists how to rap or how to approach a song. I let them do the song.

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.

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'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'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'm not sure if the next song I write is going to be about love or a song about a tree.

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.