Top 1200 Song Quotes & Sayings

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.

My first song was Hula Hoop Song, in 1955. It was a novelty song. I had to find someway to reach out and it was with a novelty song. Now, all of my recording obligations have been taken care of. I made 14 albums for Warner Brothers. Five for United Artist before that.

Johnny [Depp] got this rock 'n' roll old soul to him. If I say a song, he goes, 'Oh yeah. I know that song.' A song he shouldn't know, a song that's not his generation at all. So he might as well have been there.

I can't try to write a song - songs come out of me. I have to play the guitar and if I jam a song, boom! That's a song.

Every song that is a Hopsin song, I 100 percent made it. Nobody helped me. There was no producer to say, 'Hey, put the beat like this... ' It was all me. If the song was wack, then the song was wack. If it's dope, it is what it is.

When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.

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

Music fills peoples with life. It doesn't have to be a 'happy song.' If you have that one song that relates to you, whether it's a sad song or a gangster song, whatever relates to you the most in that moment, it can literally get you through the day.

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.

'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.

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.

The first song I learned on the guitar was a Kenny Chesney song called 'What I Need to Do'; it was just an easy song to play... and it was really cool to see that come full-circle a few years later and have him record a song that I was part of.

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'.

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.

The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.

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.

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

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.

An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.

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?

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.

In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.

I sang my song called "In This Song." David Foster wrote the song for me. I thought that I should sing a ballad song.

I don't want to just go out and do song to song to song. I like to create things before the song actually kicks in, little things you do to excite the crowd.

A Song of the good green grass! A song no more of the city streets; A song of farms - a song of the soil of fields. A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork; A song tasting of new wheat, and of fresh-husk'd maize.

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.

Like the Birth Of Venus, the song [Yello "oh, Yeah"] denotes the birth of the bro. The song just reminds me of bros looking out over lowered Ray-Bans. It birthed a negative sexual revolution. I was going to a lot of bondage clubs at the time and they did play this song. The song I associate more is that horrible Enigma song with the Gregorian chant. There's something good buried in that song and I might not hate it as much if I hadn't been a sex worker.

I love the song 'El Rey.' And for years, I never knew what the song was totally about. It was something new for me. I'd never sung a song in Spanish before. Then I got the translation and saw what a really cool song it was.

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.

I'm a panicked karaoke participant because I am always searching for a song in the moment. I don't have my go to song. I will be driving along and I will be like, "That should be my karaoke song!" and then I forget what song it is.

"My Trigger" is the best combination of song and track. "Heart Is Full" is maybe the best song we've done as a song, and that's why we try to play it in different ways, too, because I think for a lot of people the track was a bit distracting from the song.

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.

If we were to use the success of 'Need You Now' as the barometer for every other song, then we'll probably be highly disappointed. That song will probably undoubtedly be the biggest song of our career. We can hopefully have success for 20 years, but we may not ever have the success of that one particular song again.

I don't have to say I'm going to make a song. A song is always there. I just have to open my mouth and a song comes out.

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.

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.

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.

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.

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.

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.

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.

?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.

I'm one of those people that I make a song... then I write another song and then I'm like, 'But this song is so much better than this song,' and then I kind of ditch that song. It's a long process.

When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.

I always think of each night as a song. Or each moment as a song. But now I'm seeing we don't live in a single song. We move from song to song, from lyric to lyric, from chord to chord. There is no ending here. It's an infinite playlist.

Sometimes a song just has to cater to whatever's goin' on. A well-written song is a song that stays true to the subject.

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.'

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 would say a great song [is where] you like everything in the song. The lyrics move you, the beat makes you want to dance and you feel invincible when you listen to that song. A good song I think you can listen to but you get tired of it really fast.

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.

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.

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

Playing a song changes a song. Every night a song becomes something else on stage.

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.

But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.

The difference between a good song and a great song is a good song is one that you know, you'll put on in your car or you'll dance to it. But I think a great song you'll cry to it, or you get chills. I think a great song says how you feel better than you could.

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.

There are no limitations with a song. To me a song is a little piece of art. It can be whatever you like it to be. You can write the simplest song, and that's lovely, or you can just write a song that is abstract art.

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.