Top 1200 Siren Song Quotes & Sayings - Page 2

The purely Great Whose soul no siren passion could unsphere, Thou nameless, now a power and mixed with fate.

Donny Hathaway's 'For All We Know' is the song that I've sung the longest. It is a beautiful song about living in the moment and appreciating this very second. That is the song I did for my 'Rent' audition.

I'm never sure if I'll ever write another song, what the song will be about and if what initially sparked the beginning of a song might complete it.

I don't think about, "How does this song that has more of an electronic mix prefix to a song that has a full orchestra next to a song that has other things?" I just work on it as-needed.

The hardest song to write is a protest song, a topical song with meaning.

The song 'Tyler Durden' is about the movie 'Fight Club,' so obviously, it's not a personal experience, but I love that song. It's my favorite song.

If you have a song that you think sounds like another song you should contact the publishing company and say I have a song here, let's cut a deal that lets everyone walk away feeling good.

There have been a couple of times I've started the song in the wrong key. We stop the song, we all laugh together and we start the song again, and we go for it.

My faith, inasmuch as I have any, is more like a kind of Joseph Campbell thing, and even that frequently finds itself tested to oblivion in siren waters.

If I can leave a single message with the younger generation, it is to lash yourself to the mast, like Ulysses if you must, to escape the siren calls of complacency and indifference.

I feel like, when you turn on the radio and you hear a great song, you know it's a great song, and you sing along. We all know what a great song sounds like, so we all have that instinct, it's just being able to accept your own instincts when you write that song.

Will you make a song for him?' the woman asked. 'He has a song,' the man replied. 'He is the prince that was promised, and his is the song of ice and fire.

I can't remember the first song I learned to play on bass, but the first song I learned to play on guitar was 'For Your Love' by the Yardbirds. That kind of was the beginning for me. I thought it was a great song and I loved the open chord progression at the beginning of that song.

If somebody sings a song that I wrote, I feel like it's a nice point of validation for the song, because it shows that the song is able to stand on its own. I like that.

The desire for reinvention seems to arise most often when companies hear the siren call of synergy and start to expand beyond their core businesses.

I'm very conscious that a music video is beyond just a promotional tool for a song. It takes a song to the next level and it gives a song a new life.

I think that I have come at it backwards in a way because a lot of what I'm doing as a songwriter is not incredibly intentional. There's a moment that happens which creates the song or the actual idea for a song, and then I'm like, "Oh, it's this kind of song."

Any woman can be a siren one minute and in pigtails the next. I am a very complex person with more than just the one facet that television played on.

You can hear 'Human Nature' all over our song 'Elevate.' It's an amazing song. That hooky arpeggio in the beginning is great. Unlike most Michael Jackson ballads, even though I'm a huge Michael Jackson fan, this song is kind of restrained. It's not a huge, crazy song you can dance to - it's just this beautiful piece of music.

The pause makes you think the song will end. And then the song isn't really over, so you're relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.

I don't think you ever write a song with any intention except the song's about such and such per say ... we've never written a song and thought 'oh it'd be great if in this part this happened in the audience'.

I have the most eclectic music taste out there. I can be listening to an indie pop song just as easily as I could be listening to a Carly Simon song from the '70s to a country song.

Whether it be a reggae song, rock song, a love song, the main thing was just to, whatever I was feeling, to try to capture that emotion.

When I do my vocal warm-ups everyone calls me the dolphin because I do stupid siren noises.

Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.

I think when you have one song that does really well, people love you from that song, or they hate you from that song.

?ach song is like starting over. Because somehow, no song's formula works for another. And that's the beauty of it all. Each song's destiny is embedded in its DNA. And our job is to reveal it.

Postmodernism entices us with the siren call of liberation and creativity, but it may be an invitation to intellectual and moral suicide.

The clock ticked with empty urgency, as though trying to catch up with the time. In the street a siren howled.

We learn a language through its song, and even if you don't have music you have the song of people you love's voice, and you'll notice that song in their voice.

What's really cool about 'This is Me' is that our friends loved the song. Older punk rock fans don't know 'The Greatest Showman,' haven't seen the movie. And they hear that song and they're like, 'This just sounds like an awesome New Found Glory song. This is a really good song.'

'Unbelievers' was a song that we felt like we could tackle, so that's one of the reasons we wanted to start playing it live, we really believed in that song and we still believe in that song a lot.

A Seer's moon, a Siren's tears, Nineteen Mortal, Wayward fears, Incubus graves and Caster rivers, The Final Page the End delivers.

Actually think anybody ever approaches writing any song, I think the song approaches them, truth be told. Usually what happens is that a song arrives and afterwards you say that "I wrote the song," and it's not actually true; they find you, they write themselves.

I am a firm believer in playing the type of music that compliments the song the best. If it's a folk song make it sound like one. If it's a rock song make it sound like one, if it's a rap song take it off the record.

I can tell you that I can always recognize a Boston song, even if it's in a noisy place. I can hear that it's Boston even before I know what song it is. If a Boston song comes on in a club or somewhere, I notice that it's Boston, and the second thing I notice is what song it is.

At the end of the day I'm not just sending beats in. I'm mixing the song. I'm recording the song. I'm engineering the song. I'm in the studio helping with the songwriting. I'm doing the whole beat - every single piece of it is me.

The interesting thing about a song like 'Bulletproof Heart' - it was [originally] called 'Trans Am' - the interesting thing about the amalgamation of that song was that the song also lived within us, like we all got to live with the song and it was around for about a year before we recorded it again, so the song got to really transform, which you don't really get to do.

We have this song called 'Radio,' and I wrote that song when we needed one more song for a record. So I went back into the other room and wrote it in 20 minutes.

For music, unlike a $500 software program, people are paying a buck or two a song, and it's those dollars and pennies that have to add up to pay for not just the cost of that song, but the investment in the next song.

If somebody sings a song that I wrote, I feel like its a nice point of validation for the song, because it shows that the song is able to stand on its own. I like that.

Italy's siren call lures us more and more.

The first job I booked was on 'True Blood.' I played a blood siren.

Each song is a child I nourish and give my love to. But even if you have never written a song, your life is a song. How can it not be?

The patron saint of outlining - the bespectacled siren who sings to me from his spotless rock - is P. G. Wodehouse.

I'm no sexual siren. I see prettier girls than me in the grocery store every day.

I've always wanted to title an album 'Illinois.' I wrote the song, which was a very special song to me. The song isn't exactly about being from there, even though I am.

I'm a praying atheist. When I hear an ambulance siren, I ask for a blessing for those people in trouble, knowing that no one's listening. I think it's just a habit of mindfulness.

Words are important to me, but a song can work and function and be a good song with words that are fairly standard. But really great lyrics can't rescue a dog of a song.

Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.

But the reality is when you write a song, you should be able to strip away all the instruments and just have a song right there with an acoustic guitar and a voice, and the song should be good.

I'm no longer beholden to the sacredness of the recorded song as some kind of ultimate standard by which every performance of the song is measured. I like to diversify, that there are multiple versions of every song. And the songs incorporate a lot of improvisation, and an element of chance, and I think that's exciting. There's no one true formulation of a song, they have various manifestations depending on the space we're in. I like that.

I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.

The song becomes the meaning itself through the vibratory qualities. When we begin to catch the vibratory qualities...the song begins to sing us...I don't know anymore if I am finding that song or if I am that song.

I want my careless song to strike no minor key; no fiend to stand between my body's Southern song - the fusion of the South, my body's song and me.

I love the feeling of nostalgia vying with the present. That can be from song to song, or within the same song.

It's fun to be able to revisit a song and do something that doesn't really illustrate the song but works tangentially or runs parallel to the song in some way.

When you get to say something in a song you're not directing it necessarily at one person. When it's in a song it's easier to get it out. I don't really worry so much about it when I'm writing a song.

You want the song to be at least at the same level of goodness throughout. Whereas with something you're doing live, a song dips and rises and that can actually be worked to the song's benefit.

The song 'Hymnostic' is kind of a gospel song, and that song is really fun to sing with as many people as possible. And anyone can sing it, you know?