Top 1200 Siren Song Quotes & Sayings - Page 16

Nobody's favorite movie is some dark, dysfunctional slasher story. Everybody's favorite song is a sentimental song. So why all of a sudden is it bad to be sentimental in books?

I use music as a tool for my own personal sanity, one might say. After a long day or something, I can always come home and sit down and play a song, or write a song, just relax and kind of space out with my guitar.

As for me, I rarely write a song. But when I do write a song, like "Ain't No Chimneys in the Projects," which came to me at three a.m. one morning, on a whim - I get a percentage.

I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.

There's nothing like that feeling of having just written a song that you know is 'the song,' and you know it's really great, and you can't wait to share it with people; you can't wait to record it.

When I first heard that song, it was a ballad but it had a lot more. It felt like a gospel song when I first heard it and it just moved me.

I'm just the instrument for the song to do whatever it's supposed to do-heal, inspire or encourage. It's not all about me, it's about the song. I'm just the lucky girl who gets to sing these songs.

I would love to do a collaboration with Lil' Wayne. I would have loved to sing on his song, 'How To Love.' I wanted to do the remix to that song really bad.

... being perpetually charmed by his familiar siren, that is, by his geometry, he neglected to eat and drink and took no care of his person; that he was often carried by force to the baths, and when there he would trace geometrical figures in the ashes of the fire, and with his finger draws lines upon his body when it was anointed with oil, being in a state of great ecstasy and divinely possessed by his science.

Sometimes I dream song ideas. I write a song in my dream, the melody and everything. But then sometimes I can't remember them. I think later on, I probably do.

It's that feeling when you hear your favourite song. That feeling, whether you're in a car, at a party or alone at home or in bed and you hear this song and it just hits you so strong - that’s what we aim for.

When I play the first few notes of a song and people start screaming, I think: 'That's why I did this. That's why I wrote this song. That's a good job.' And it is a job.

When I was a little girl, my dream was just to hear my song on the radio. It was very fascinating to me, and I was like, 'How do I do that?' Now it's like, 'Oh my God, my song is on the radio!'

The love song must be born into the realm of the irrational, absurd, the distracted, the melancholic, the obsessive, the insane for the love song is the noise of love itself and love is, of course, a form of madness.

Writing a love song when I was 19 is very different than writing a love song when I'm 25. You're more sophisticated; you can elaborate and pinpoint special things a little clearer.

My songs, they have just the one chord, there's none of that fancy stuff you hear now, with lots of chords in one song. If I find another chord I leave it for another song.

Every song is a long process. First I have to write a story for it, and then to make it into a song, I have to make it short and then shorter - so it's not easy!

I'll flip samples where one's a completely dark song and the next one is a complete sexual song. People think my whole thing is a dark thing, but I don't.

Milionaria' is the first song I've composed and I published in Catalan, it's also the first song I do inspired by Catalan rumba. I started it in Seville while I was waiting at the airport and I finished it in Barcelona.

What I love about 'Midnight Train' is that it's a song about a journey, but the music actually takes you on that journey. It feels like you're moving through the whole song.

I can't bear working with a click track, we're not click track people. But for "Mercy Is ..." we all got in one mind because the song is delicate; it's not a song that showcases a vocal or some virtuoso.

I didn't say I wasn't gonna do rockabilly. I just said I ain't gonna sing no song that ain't a country song. I won't be known as anything but a country singer.

When I'm writing a song, it's just me and the songwriters. Then when the song is done, there are publishers that hear it, then people in my management, then my wife and my boys and my friends, and if they're all lovin' it, it's kind of withstanding all the criticism I need.

I had this revelation, you are a lot better at the between-song stuff than you are at the song stuff. That was devastating. And I usually find devastating things to be pretty valuable.

I think, any of your audition songs should really be a song that you are so confident with and can pull out of your back pocket. Find a song that shows your entire range very quickly.

If you write a song, and you go into a restaurant, and there's a guy with a piano singing and he's playing piano, singing your song, or you hear it at a wedding or at an airport... it's fun!

You can make a hit song in 15 minutes. I don't know about someone else's song, but songs that people like of mine, I've created in 15 minutes or less.

The first song I wrote was "Look Both Ways Before You Cross" from Imaginaryland. I started the song by singing a bass line, "hoo hoo hoo hoo."

Whenever you're in a relationship, you have that favorite song that reminds you of when you first got together or when you first kissed, and then every time you hear that song, it reminds you of that person.

I've written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.

I can't think of a recent baseball song except John Fogerty's Centerfield. It's very difficult to write a baseball song that pleases fans and non-fans alike.

We made the song a big part of the story [Sausage Party ] itself, in that it's kind of their prayer that they say every morning, because we found that just to have an arbitrary song felt too unrealistic within the reality of our talking food movie.

I don't want to be somebody who stands still and sings pretty. Each song is a world. Each song is a story. I don't achieve nearly what I want.

'7 Years' is, you could say, a song that eats its own children. That we need to get past the song and get to the person and get to the record and get to the music so we can keep releasing.

'No Scrubs' is a mean song for a lot of reasons. If you're 18, 19-year-old guy, or even 17, your friend just got a license. You don't have a real job yet. It's like that song asks you to be an adult way faster than you should.

There's a bit of hope that a song can be about anything. If you want to write a song about anything, you can, and you don't have to put it through the process of having it be trendy or cool or generic pop or these types.

Sometimes I'll have a whole song done without having a beat - I'll just rap on an instrumental tempo and recreate a whole new song just around the lyrics.

Like anything important, anything you need people to hear - you've got to have music for it. You've got to make it at least a little piece of a song or sometimes a whole song.

I definitely don't wanna be known as the 'Up Down' guy. I love singing that song, I love that song, but yeah, there's definitely more to me than just a party for sure.

I've always gone to see all kinds of shows and stole what I could, as we all do. We see an artist and hear a song and think, 'I bet I could sing that song. I'll put that in my show.'

You're always going to write and draw inspiration from things that you're feeling, things that you've felt. It's kind of impossible not to unless you're writing a song and there's an exact scenario that you're trying to write a song for.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

Whether it's an inspiring song or whether it's an entertaining song - whatever it might be about it - I just want people to feel the emotion that I put into it because I think emotion... is everything.

Every week, Dennis Day sang an old Irish folk song. And next day in the fields, I'd be singing that song if I was working in the fields.

you see, we live in a cold climate and are not permitted to kiss on the street so I made up a song that wasn't true. I made up a song called Marriage.

Sam Phillips asked me to go write a love song, or maybe a bitter weeper. So I wrote a song called, "Cry Cry Cry," went back in and recorded that for the other side of the record.

One of my side strange abilities is to hear a good song, no matter how it's being performed. Even if you get a bad performance, I can still hear that there's a good song.

Of all the songs that I've written since I was 15 or 16, every song is different every song is special, it happens in a different way and I like that.

I have a song about being in love. I have a song about being supportive. There's inspiring ones, and there's some that show a little bit more fun and daring. It really is a range of who I am.

Music is shared. It's a shared feeling; that's what music is all about. When you listen to a song with someone else, it becomes more than just a song. It defines relationships.

It usually takes me 20 to 90 minutes to write a song because once I start, I don't stop. If I start writing a song, and you try to have a conversation with me, you're a bad person.

There's a song called 'My Faith' that's kind of my spiritual song on my record. It's a little bit of my softer side of me, comin' out of left field a little bit.

I love playing the new songs live. I hate playing a new song and then having to play an old song again, it feels really boring.

A classic song is timeless. You'll never outlive a classic song. I'll never put The Beatles 'In My Life' on one day and say, 'That doesnt move me any more.'

Solace is my favorite song. It was the last song we wrote for the record. It was right when we really started to mesh as far as music goes and we started really connecting with each other.

The first line of the song is always the hardest thing to write. And then after that, the song should - unless it sucks - it should write itself.

There are two things John and I always do when we're going to sit down and write a song. First of all we sit down. Then we think about writing a song.

I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.

Well after 'Fast Car' was so huge, everyone was asking me, 'What's the next song?' At the time I just had ideas I was working on, but it was very clear I needed to finish another song ASAP, and that's how 'Perfect Strangers' came about.

Well, I Am... I Said was a very difficult song, very difficult because I really had to spend a lot of time thinking about what I was before the song was written.