Top 1200 Song Titles Quotes & Sayings - Page 4

What's amazing about a DJ set is when you're able to re-appropriate a song or give purpose to a song that people didn't really think it was supposed to have. Give it this sort of hidden power by playing it before this song and after that one. That it fits into this logic and it goes farther than you thought it could go.

Here's the way the licensing works ... If you write a song, nobody can record your song before you do without your permission. But, once the song is recorded, they can get what's called a 'compulsory license', and they can record the tune, but they have to pay you royalties.

Usually when a song comes to me, I don't ask a lot of questions; I hear something, and I just let it out in song. It's like making a salad. Everything I hear, and everything I am, I mix together in a different way in each song.

Even if I know that really it's not a great song, even if it's a naff song but I have a good memory of it, then to me that's a great song.

The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song.

If I try to write a song, I will completely fail to write a song. But if I'm just holding my guitar and I just start humming, then I'll have a song in an hour.

To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.

I try to write down every song that comes to me, even though I know that every song that comes to me isnt a song that I need to sing.

In Holland, there's a song that goes, 'Redheads - they know how to kiss.' But that's obviously not a song I made. I don't know who made that song.

The easiest way I can describe what makes a pop song a pop song is that it's a song you want to hear over and over.

A recording of a moment in time, where I was physically there, and it's now in a song for all eternity, in a way. It's really weird. I had written the song, but I'm also physically there in a way I'm physically inside the song, because I've recorded something that's in there.

When I enter a club and hear my song being played, I feel like it's not really my song and when I see people dancing to my song, I feel like jumping up on stage and treating them to drinks.

Inspiration and stealing are two completely different things. If somebody wants to make a song like "Stairway to Heaven" and writes a song on acoustic guitar, Led Zeppelin does not own every song that's on acoustic guitar for the rest of time.

I'll make a song with Rick Rubin, a song with Beyonce, a song with Lenny Kravitz. I just believe in making good music. I'm not trying to section myself off into just making hard-core rap music.

A song is a song. But there are some songs, ah, some songs are the greatest. The Beatles song 'Yesterday.' Listen to the lyrics.

Longer is not my best song, it's just a classic love song, and every songwriter always dreams of writing a classic love song.

When you finish a song, your first thought is going to be, 'Is this song a hit?' I hate that we think that way, because it kind of takes a little bit of the meaning out of the songs that are being written, but you're definitely going to think, 'Can this song be put on the radio?'

'So Icy' is always going to be one of my favorites because this is a song that blew my mind. I was just making beats for the fun of it. I went to the club and heard the song being played, so I asked the DJ to stop playing the song, and the whole club started rapping word for word.

It's always amazing seeing the song-writing process. A song just starts off as just an idea or a story you want to tell. It keeps building and building when you add the lyrics, the instruments, the vocals until you finally reach the finished song other people can enjoy.

When we went to cover it I thought we would change it to a song of loving and longing instead of the sex machine song Kylie turned it into. I've met Kylie and told her we were covering her song and she was pleased.

Well, Neighbours wanted to do a song on the show, and they asked me what songs I had. I told them I'd just written this song, called Born to Try, and I had just gone overseas and spoken to some people from Song about it.

I have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.

I think my favorite song is by Led Zeppelin called 'Good Times Bad Times,' a Rolling Stones song called 'You Can't Always Get What You Want,' and every song The Beatles ever wrote.

'Carbs' is the first song I wrote, and 'I Wanna Boi' is the second song I wrote. I am very proud of every song I made since then. Anything I'm not proud of I wouldn't show people.

This was the first time that he has ever looked into the labyrinth of the human soul. He was very far from understanding what he saw. But what was of more value, he felt and suffered with her. In years that were yet to come, he relived this memory in song, in the most beautiful song this world has known. For the understanding of the soul's defencelessness, of the conflict between the two poles, is not the source of the greatest song. The source of the greatest song is sympathy.

Wasurenaide is neither my song nor anyone else's song. Because it is the song that belongs to the 5 members of Tohoshinki. Therefore, I don't want it to be sung, neither by one person nor by three people.

You could write a song about some kind of emotional problem you are having, but it would not be a good song, in my eyes, until it went through a period of sensitivity to a moment of clarity. Without that moment of clarity to contribute to the song, it's just complaining.

I try to write down every song that comes to me, even though I know that every song that comes to me isn't a song that I need to sing.

The title is 'Tattoo boy' and I haven't heard a song that talks of tattoos. So, I feel people who have tattoos will relate with this song. It's a beautiful song. It has been composed and shot really well. I hope people appreciate it.

If I found out some gal was trying to steal my guy, I'd want to give her a black eye! Instead, I wrote this song. At the time I was writing each song [on this album], you could figure out the frame of mind I was in by listening closely. With every song I've ever recorded, I'm in it. I wouldn't write about it if I wasn't in it.

I can't constantly be trying to write the unwritten song, the song that the 15-year-old girl needs. I need to write the song that I need.

When I write a song, I always start on acoustic guitar, because that's a good test of a song, when it's really open and bare. You can often mislead yourself if you start with computers and samples and programming because you can disguise a bad song.

I remember writing lyrics for 'Take Me to Church' for a long time before I even had a song in mind for. It's not that I was trying to write that song for a year, but sometimes you just kind of collect lyrical and musical ideas and don't actually complete the song until you feel like they work together and have a home.

I feel like this song [Yello, "Oh Yeah"] was probably done in a couple of minutes in a studio. There was probably no thought behind it; they were just playing with some samples and threw it together. I feel like there's no dream behind the song. Usually there's a dream or some kind of passion attached to a song. This song feels very empty. It made a lot of money for the songwriters but at the expense of culture.

HERE It’s- Can I say? It’s like the song of a family where everything’s always all right, it’s a song of belonging that makes you belong just by hearing it, it’s a song that’ll always take care of you and never leave you. If you have a heart, it breaks, if you have a heart that’s broken, it fixes.

I never start a song at the beginning; I always start in the middle, working with the original concept. That might be a loop or a vocal hook. A weird noise or a string sample. Once that's at the heart of the song, I work concertina-fashion, expanding the song forwards to the end and backwards to the beginning.

But I knew - in the old days, if a song was a good song, I don't care if it was 'Yellow Submarine' or, you know, or 'The Times They Are a-Changin' or 'Don't Be Cruel', you knew it, you know? You heard that song, and you were talking about it, and you knew it.

I want to make people feel things when they hear my music I want to give a song to someone who is going through a break up, I want to give a song to someone who loves someone and can't tell them. A song for someone who has just fallen in love and a song for just people who are living their lives.

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. ... A lot of my songs are very serious, I'm like dead serious about certain things and I feel that I'm writing about the world, through my own eyes. ... I have a love for simple basic song structure, although sometimes you'd never know it. ... Most of the songs I wrote at night. I would just wake in the middle of the night. That's when I found the space to write.

'Wanna Be That Song' has everything I want to say about love and about what I'm trying to be. I wanna be that part of your life, that song that means so much to you, the one that takes you back to that special place... the song that makes you laugh, the song that makes you cry when you need to cry, that makes you dance when you need to dance.

I've literally been in sessions with producers, writing for other people, and they're like, 'We need a song for this artist, and we need it to sound like this song.' They're literally saying, 'Rip off this song that was no. 1 last week,' and that's just so uninspiring.

If you are a cabaret artist and you are mostly singing other people's songs, you're asking them to rethink a song, listen to it in a different way. The most impact you can have while asking them to re-listen to a song is if it's a song they know very well.

There's such a huge difference between a great arrangement of riffs and a song. Sometimes the two can be the same. But the difference is a song doesn't necessarily need a riff, whereas a riff doesn't necessarily mean you've got a good song on your hands.

You don't really write a hit song - you write a great song, and then, if the public decides it's a hit, they take over from there. The song becomes its own monster.

When you listen to an album, it shouldn't feel like, "That's the girl song," "That's the club song." I shouldn't know what you're thinking while you're making the song. I don't want to know what the artist is thinking.

There's a song called 'All We'd Ever Need,' which is actually the first song that the three of us wrote together on our first album, and when we wrote that song I didn't have any real experience to pull from.

I don't sit down to write a country song. I don't sit down to write a rap song. I just sit down to write a song, you know what I mean? And I try to make that song the best it can be.

'She's a Mystery to Me' was released in 1987, when I was 11 or something, and I absolutely adored the song. This song was written by Bono and The Edge, and the story goes that Bono woke up with the tune in his head, then thought that the only voice who could sing this song is Roy Orbison.

As an example, there is a Japanese composer / singer whose name is Tanimura [Shinji]: he has composed a song entitled entitled "Kazeno Komoriuta" and I have recorded my piano adaptation of this song and honestly I couldn't expect that it would be so difficult and challenging for me to perform my piano version of this beautiful song.

I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.

'Kolaveri' is one song that people feel connected to. While I am bored of the song, it seems people aren't. I really can't say what worked. But I can definitely say that the song made me what I am today.

Keats's odes are among my favorite poems ever. As are Neruda's. So yes, I think my poems are odes, though I really just see those titles as ways of more or less orienting the poem. I've never thought about this until now, but I guess you could say that one effect of all the titles, their pervasiveness in the book, might be to once again, as so many other things do, put into question the meaning of the word "for," which I suppose is one of the great human questions: what is all this for? Why, and for whom, are we doing whatever we are doing?

I wake up in the morning and I say 'Ahh! Today's the day for a song! I'm going to write a song today!' And I do. I write a song.

Each person who ever was or is or will be has a song. It isn't a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their song instead.

Every song I ever wrote, I wrote to be heard. So, if I was given a choice that 50 years from now I could either have a dollar or knowing that some kid was listening to my song, I'd go with the kid listening to my song.

That is the difference between a good song and a bad song lyrically - if you can listen to it and put yourself in that place, or see that person in that place, normally it is a pretty good song.

I'm so bad at lyrics. I'm always trying to get better. Sometimes, the song can restrict your lyrics - if you're trying to make a poppy song, you don't want to sing something that sounds like it could be on an At the Drive-In song.

I write when I have to; I write when the song is done and I deal with the idea and I just go with it and I'll become what that song is all about until I have finished it. And when you do that, it makes the song more visual, it makes it more personal.

A good song is a nice set of chords and some good lyrics; a great song is a song that reinvents itself over time. That you can always find something interesting in the more you listen to it - it keeps revealing something to you.

A song is a song. But there are some songs, ah, some songs are the greatest. The Beatles song Yesterday. Listen to the lyrics.