Top 1200 Song Titles Quotes & Sayings - Page 14

I try to write songs just for the song itself. I don't try and think about where it's going to end up, that way you're writing for the good of the song.

Here's some free advice; like the folkies of yore, you need to be not just a writer of songs, you need to be a lover of songs, a listener of songs and a collector of songs. If you hear a song in a club that knocks you out or you hear an old recording of a great song you never knew existed, it does not diminish you to record it; it actually exalts you because you have brought a great song from obscurity to the ear of the public.

Personal relationships are usually my biggest inspirations for writing my songs. The best way for me to write a song is to visualise the story in my head, and I start humming a melody, and before you know it, a song is born.

Even when I write a song, lots of times I think - I wonder what my dad would think of this song.

Iggy Pop is legendary - he is awesome - and I am a massive Bruce Springsteen fan. His song 'Cautious Man' is my favourite song. It's really poignant, dark, and moody, like myself.

My guiding principle when writing with other people is that it's not worth it to give someone a song unless it hurts for me to give them that song.

When you write a song, a song has longevity

Looking at the original lyrics [of "A Song For You" ] as I was preparing it, I thought, "Wow! I feel like it was written for me." That's what a great song does. You don't have to do a lot of homework. You can just say the words and it springs to life.

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 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.

Everybody wants to write a hit song, but in Nashville people want to write the best song, which was my original intention as a singer/songwriter.

Any musician with a slight level of self-awareness can be taught to write a 'good' song. A great song is completely original. It feels as if the performer is the only person who could bring it to life.

When I feel it, I got it, 'cause, like, on 'Changes,' I didn't never know what that song was, never knew who it was or who did it, but Tom Brenneck asked me to do that song.

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.

Breathes there the man, with soul so dead, Who never to himself hath said, This is my own, my native land! Whose heart hath ne'er within him burn'd, As home his footsteps he hath turn'd From wandering on a foreign strand! If such there breathe, go mark him well; For him no Minstrel raptures swell; High though his titles, proud his name, Boundless his wealth as wish can claim; Despite those titles, power, and pelf, The wretch, concentred all in self, Living, shall forfeit fair renown, And, doubly dying, shall go down To the vile dust, from whence he sprung, Unwept, unhonor'd, and unsung.

The video forum for me has been a source of great consternation because once you start projecting a look to a song, it robs the listener of their ability to adopt that song and make the lyric their own.

I love writing every song I can like a little mini movie. I like to have a character, or some characters, and really paint a picture with the song.

'Peter Pan,' I think, was a game-changer. That was the first song that really had some heartbeat to it... I think that's the song that got people's attention.

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.

For Valentine's Day, I wrote my crush a song and had it professionally recorded. I never released it, though, because I wanted it to be a song just for her. I thought it would be more special that way.

When you write a song, a song has longevity.

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.

Early on I realized when you write a song about someone, it flatters them on some level, and gives you a lot of room to move within a relationship. A song can kind of get the girl, for sure.

I don't try to approach things any differently, songwriting-wise, regardless of what I'm doing. I try to write whatever the best thing is that I'm doing that day. If I'm working on a pop song, I'm working on a pop song to the best of my ability. If I'm working on a bluegrass song, it's the same thing. They're not really different parts of the brain.

Cowriting is very personal. A great song is an honest song, so you have to be able to open up to the person in the room. It's like a blind date. I know in the first five minutes if it's gonna be weird.

I didn't want to release a song like 'Spice Girl' right after 'Caroline' because I didn't want another 'hit' kind of song.

If I hear a song like "Time After Time." I'm sittin' there lookin' at video and Cindy Lauper comes on singin' this song. I said, "God damnnnnn!"

The appreciation that we received after the release of the audio of 'Every Night and Day' is all because of Iulia Vantur. According to me as a composer of this song, she made this song sound very fresh.

His own opinion, which he does not air, is that the origin of speech lie in song, and the origins of song in the need to fill out with sound the overlarge and rather empty human soul.

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.

As a song-writer I have always written with one instrument - either guitar or piano - because I believe that if a song is strong enough to be performed completely stripped down then it is a good one to go on and record.

Well, I have to have some type of visual in my head to finish a song. I can't finish a song if I can't see anything.

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.

A good song's a good song, and well known songs take on meaning in people's lives.

The song 'Innocent' is a song that I wrote about something that really, really emotionally impacted me.

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.

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.

Wayne and Drake, it takes them so long to do a song. I understand why, because they want it to be perfect. But I think I can do a perfect song in 10 minutes.

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.

When I was five years old, me and my cousin got into a fistfight because when "That's the Way (I Like It)" came on the radio, he said, "That's my song," and I said, "No, that's my song."

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.

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.

Then a friend of Jim's suggested we make a theme song to explain the story, and this is where the Mads came from. Josh and I wrote it into the theme song.

I really like Ariana Grande, Jessie J, and Nicki Minaj's song, the 'Bang Bang' song. It's the new 'Lady Marmalade.' So good.

The song could start with a riff that I base the song around. Or a chord progression or a melody I have, I just write a story about it. Lyric-wise, it's cool to have someone else's input too.

When I sing, I try to live the song or live the emotion of the song. The space I'm in doesn't exist. It's another world.

I love that song 'I Could Have Danced All Night' from 'My Fair Lady' so much. I love that song because watching it as a kid, it was such an unbridled expression of joy.

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.

We shot the song 'Hum Tumhein Chahte Hain Aise' by a lakeside. Though the song was a duet, it was filmed as a solo number on Vinod Khanna. I had to react to his singing and it worked.

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.

It was always meant to ease out of a big radio song and flow into the next one. Don't is the bridge song in between Sing and Thinking Out Loud.

Every song means something. Every song tells one of our stories, or a story together.

Jesse James is like a Leonard Cohen song, I wanted to do something that was like a pop song.

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.

While I've had a great distaste for what's usually called song in modern poetry or for what's usually called music, I really don't think of speech as so far from song.

The downloads, the licensing, commercials, radio - it's made me more money than any song I've ever written, and it only went to No. 26. It wasn't a big hit at all. But it's a career song ["I Can't Drive 55"].

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.

Sinatra was bothered with issues of anti-Semitism and racism all his life. The song and film he made 'The House I Live In,' was a deep message against prejudice and he was very proud to have recorded the song.

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