Top 1200 Siren Song Quotes & Sayings - Page 20

It's much easier to write a song for a musical than just writing a song because, writing for a musical, you know what the story is about, so you know what the songs have got to say.

A great song is a great song, whether it's on vinyl or CD or cassette or reel to reel or mp3. Then again, that might be an overly optimistic view, but I do think that great music will transcend the medium in which it is delivered.

A lot of comedians do bits where they say, 'I was listening to this song, and this person said this, and you know how they say that?' And I thought it would work better if I actually had a DJ put that song lyric right there. It makes it more dynamic, and it's more energetic.

At the end of the day, all people want to do is hear a great singer sing a great song. They don't care about what vocal changes it went through. You can't screw up a great song and a great singer.

A good song is a good song, and good musicians can play all different styles.

I've got a song on One Direction's album called 'Tell Me A Lie'. It's a really cute song - I love it. I loved that they liked it. They sound really great on it. I already have it - I'm so VIP with my copy on my computer! It does sound really good.

When a song blows your mind the first time you hear it, you don't know where it's going. It's blowing your mind as it's unfolding. Then there's that sensation that you're actually going to remember the song.

I did a smaller gig with an acoustic guitar and a drum machine. In one song, something wrong happened with the drum machine. I tried to cover up the mistake by playing faster and improvising a new song but it became crazy, and I had to admit it was all a mess.

You can say a lot more with a poem than you can with a song, but with a song you can really be more powerful with it. You can express it a lot more powerfully.

When "Here Comes the Sun" started, what happened? No, the sun didn't come out, but Mom opened up like the sun breaking through the clouds. You know how in the first few notes of that song, there's something about George's guitar that's just so hopeful? It was like when Mom sang, she was full of hope, too. She even got the irregular clapping right during the guitar solo. When the song was over, she paused. "Oh Bee," she said. "This song reminds me of you." She had tears in her eyes.

I feel like 'Beware' is a heartfelt song - it's something that is definitely a story, something that I cultivated from personal stories, some from just other stories in just wanting to make a good song.

I love Monk's song, 'Just a Gigolo.' It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.

When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff.

When a poem might become a song, then certain parts are repeated and might become a refrain or a chorus, so they change in that way. But it's more the nature of the words and what they're saying that determines whether it's a poem or a song.

For Stevie, the words are of prime importance; the song moves around the words, rather than the words moving around the song.

Walt Disney was a great believer in the use of song to convey story. He was primarily a storyman & story-driven songs were his 'pets.' He always asked what was going on with the song - he hated 'singing heads.' He loved learning about character & motivation thru music & lyrics.

A song is a mantra, something you repeat over and over. We need peace, we need giving, we need love, we need unity. I want the whole world to sing this song.

There's two things that are tough when you're trying to be a songwriter: Number one is, how do I write a great song? The second thing is, how do I write a great song that's right for me?

I didn't have song rights for the first video because I didn't know that it was going to do what it did. So for the second video, I decided better safe than sorry. It is a really gray area as to whether or not you even need song rights to make a video like that.

“I Don’t Want to Miss A Thing” is a hard song to perform, I was worried that I was not going to reach that significant note that is at the end of the song. Thank god, Steven loved it! He was the nicest and friendliest judge that I have met. He also invited me to chat with him whether I had free time on the Idol set.

Builders, raise the ceiling high, Raise the dome into the sky, Hear the wedding song! For the happy groom is near, Tall as Mars, and statelier, Hear the wedding song!

'Sally' is just a song that I wrote talking to my alter ego. When I write, I don't really consciously say, 'This is what I've been going through in my life, and I'm gonna put this into words.' It's just a song that I kinda went in and did. Then, listening back to it, I realized, 'I'm talking to myself.'

The only problem I had on The Voice, was wishing that we, as artists, could have had a stronger opinion in our own song choices. At the end of the day, it's still a vocal competition show and you want to sing the song that showcases your voice the best.

If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.

When you write a great song, it just blows you away. When you write a song that connects with people around the world - I mean like it actually transcends language barriers - you see how it can affect people, and it's quite a tall order to follow up on.

I like seeing someone that can sing jazz and then flip over and sing a pop song and then sing a rock song.

Sometimes melody and sometimes lyrics. It depends on the tempo and feel of the song. Slower pieces usually begin with melody and faster ones with lyrics. I write for the song and it leads me to my conclusion.

I like the idea that within the structure of the song, some kind of built-in improvisation keeps them fragile and in their moment, so that I'm not projecting so much, so that my perception of the song doesn't interfere with what its real body is. Sometimes it's like telling a story that I heard in passing, and I don't want it to become completely mine.

I've just had this idea pop in my head of trying to learn a new song every da, and try and play it that night. That's been fun for me because it's a little bit of a scary adventure, playing a song for the first time in front of people and letting it just be what it is.

I do disagree with the way videos of my songs have been made. 'Afreen Afreen' is a very powerful song; it did not require such a video. The emphasis should be on the song. Again, I have told my recording company, and in the future, they will screen the video only after my approval.

If I'm happy with the song and it's a hit song or not, for the rest of my life, I can hang my hat on knowing I did the best I could, and I'll enjoy getting out there and doing it. That's all that really matters for me. The icing on the cake is people actually enjoy it and sing it back to you. That's when you know that you've done something great.

When I was first learning songs, I'd have a favorite song, and I'd take the chords and twist them around. I'd learn the chords and then play them backward. That was my first experimenting with writing a song.

A lot of times, the choice of the right song will save a scene. Or there will be a scene that's a little flat and you put in the right song and somehow it just comes alive.

My band is the best band in the world, period. So, I insist on every song being better than it is on the record. So by the end of the tour, we have to be playing the song better than how it's recorded.

I don't have a favorite song that I've written. But I do have a favorite song: 'Always on My Mind,' the Willie Nelson version. If I could sing it like he do, I would sing it every night. I like the story it tells.

I wrote 'Love Foolish,' and when I heard the music for the first time, it felt like this was a song that Twice hadn't done before. I thought the song and music had a very mature tone, so I wrote the lyrics to match. I was inspired by the music directly.

I've always sung. My dad had a song in his heart and on his lips 24/7. A lot of the time, it was the same song and the same phrase over and over again.

I've always felt that the game itself is pretty much a melody and I am there to provide the lyrics. You want the lyrics to match the melody, because if you are composing a song or recording a song, it's cacophonous if they don't match.

I don't want to give you the opportunity to find a box to put me in, figure it out later. When the records come out song by song, you'll hear it and get to determine how you want to classify me.

When they're singing the guitar lines of songs in South America? Never heard that before. And in Canada, when they're singing all of the lyrics to every song - that blows me away. I don't know all the lyrics to every song.

If I hear one of my songs by anybody, it's a dream come true every time for me as a songwriter, because I want to write a song, I want to write a song that the world can sing and will always sing.

A friend and I were talking about how I don't like carnival rides that make me dizzy. I looked up from the conversation and thought, 'Dizzy - that sounds like a great title for a song.' The next day, I went into the studio with some co-writers, and we wrote that song.

I had a dream that Louis Armstrong was playing the 'Swept Away' melody. I have no idea where it came from. But Louis Armstrong was playing it and singing the song to me. I woke up-it's a borrowed melody no doubt-and wrote it down. If I hear a song and I choose not to put it down, that's me neglecting to accept that song. I think there's a very spiritual and godly-type ting that happens, and it happens to way more people than we know. It's just that very few of us choose to engage it.

I always know when a song is good or close to finished. When I sing it, it makes me feel the emotion. My tears will start flowing or I'll start laughing. I'll start feeling whatever intensity or emotion was the seed of that song.

But there are certain very practical things American Negro writers can do. And must do. There's a song that says, "the time ain't long." That song is right. Something has got to change in America-and change soon. We must help that change to come.

I like a very dark house, just black. I sit there and just think. Once I'm still and quiet inside, I'll begin. It's very personal; it has to be. One song may be Bach, the next blues, a song from TV, or a nursery rhyme or jazz piece.

There was a lot of other people that had their own song or their name in a verse in high school. I was just like, 'To stamp my high school career, I gotta get my name in a song.'

You're not going to hear me do a rap song, you're not going to hear me do a jazz song. We have to be true to our roots, do what we do, and try to do it a little better each time.

When you write a song about a place, you are writing a song about a place that might be in a hundred years, or a place that has been, or that was - in your imagination. I think that also embodies the American spirit. You are looking for what you can call "a place."

What frustrated us about the song [Robots] was not that it existed - we owe a lot to that song and have had a ton of fun playing it. The problem was that it was a "given".It was like everyone was waiting for it to happen, and then it better be as crazy as the time they saw it before. Started to feel like dancing monkeys.

Experience is all I have. I equate song-writing with archeology. Every day you dig. You dig into different places within yourself - even finding places that you've rarely been. And buried within the soil is song.

I'm so absolutely pro-Denver. I wrote a fake hip-hop song about Denver. I've been claiming Denver. Part of the joke of the song is nobody was really claiming Denver - no rappers, no comedians.

I don't write songs, songs write me. ... Writing a song can be agony or ecstasy. It can take half an hour or half a year. ... The popular song is America's greatest ambassador.

I learned when I started to study piano that I could play by ear. I could hear a song on the radio a couple of times and hear the song and the lyrics and sing it for you after a couple of plays.

I love truthful songs that tell a story and talk about people and their lives. If a song calls for a tear, then we will cry. If a song calls for a smile, then we will laugh. That is what I like to do.

I was about to walk on stage at the Kansas Speedway - I was playing a NASCAR race - and I said to Scooter Carusoe, who was standing side stage, 'I want to write a song called 'Wanna Be That Song.' Then I put my earphones back in and walked right out on stage.

To me, I always felt like drums have to be the support and the driving factor in a song, and there's places where the drummer has to show off and do things and get the spotlight, but not all the time. You've gotta pick and choose. And it's always gotta be about the song. That's really the bottom line.

You have to ration your creativity over all your songs. You write a really cool pop song then you have to write a heavy song to balance out, then you need to think about singles.

I feel comfortable in my pop shoes. They let me walk in any direction. I like to go from one extreme to the other. One day I feel that I want to do a song with reggaeton influence, I do it. The next day I feel I need to do a song with rock elements to it, I do it.

I was starting to play the ukulele at the same time I was having all these conversations with [the late Ramones guitarist] Johnny Ramone, these intense tutorials staying up late and listening to the music he grew up on, and picking up what's a great song and what makes a great song. He was all about lists and dissecting songs, like what's a better song by Cheap Trick: "No Surrender" or "Dream Police"? Sometimes you'd be surprised by the answer. It was an interesting dichotomy between hanging out with the godfather of punk rock and starting to play the ukulele. They came together.