Top 1200 Writing Songs Quotes & Sayings - Page 16

When it comes to sermon writing, generally there are two problems. Some preachers love the research stage but hate the writing, and they start writing too late. Others don't like doing research, so they move way too fast to the writing part.

When you love what you do, you just really fall in love with it. Sometimes you record a lot more songs than the album will even hold. You record like 300 songs and only 12 songs go on the album. It takes time. But if you love what you do, it works out.

It sounds odd, but I was a singer and started writing songs, and I didn't have anything in mind. Maybe it crossed my mind that it would be cool to have a hit record and a career, but that was so out of reach that I don't think I thought about it that much.

I've always felt profoundly about what's going on in the world on a daily basis. What I hadn't felt was that I was at a point in my writing career where I could write about these things in songs and do it well.

I think that writers are best served by sticking to their writing. Not having loads of theories about the best way to position the writing. I think that if the writing is good and the point of view is strong, the writing is going to take care of itself.

I've always loved the songs of the sea. I was first introduced to them back in 1957, at the Old Town School of Folk Music. I used to go to Pete Seeger concerts, and he would do songs like 'Ruben Ranzo' and talk about how the sailors sang songs to do their work - to raise the anchors, pull up the sails and that sort of thing.

I've found for the last couple of years that the things that I can become most deeply involved with are songs that reflect my real feelings about things and so that what I've been writing about.

When I'm writing, I'm constantly thinking about myself, because it's the only experience I have to draw on. And I don't see an exact reflection of myself in every face in the audience, but I know that my songs have validity to them, and that's why the fans are there.

In my living room, I was always playing guitar and writing songs and singing them. My dad and I would always sing together - only for friends and family, but always since I was a little girl.

There is so much about the process of writing that is mysterious to me, but this one thing I've found to be true: writing begets writing.

All the time I was writing hit songs with my partner David Porter, I always had the yen to perform. Sure did. And when the opportunity came, I took it. The first album, 'Presenting Isaac Hayes,' didn't do so hot, but it was like a prelude for what was to come.

We always feel pretty creative as far as writing songs. We write them together; we just get in a room, or on occasion in Flea's garage. We just sort of improvise, like jazz musicians.

While writing 'The Orientalist,' I played a soundtrack that alternated between ragtime and Azeri mugams, Russian operas and German and Italian pop songs from the 1920s and 30s. When I finally finished, I gorged on all my music from the 1960s, 70s, and 80s.

I always tell audiences when I talk about writing: Writing isn't something I do; writing is something that I am. I am writing - it's just an expression of me.

People think that writing is writing, but actually writing is editing. Otherwise, you're just taking notes

My dad, who plays guitar and piano and was in cover bands, along with my older brother, Matt, taught me guitar and stuff. I started writing acoustic songs and playing by myself in 7th grade.

Music is an emotion and it makes you feel a certain way. Some songs make you want to dance, while some make you think. Some songs are positive, while some people see those songs as negative.

The extraordinary thing about Irving Berlin is that he's like the American Mozart! It seems as if his songs were always there. How do you put together songs like 'Always' or 'Cheek To Cheek'? Songs of his are, frankly, perfect.

Ed Sheeran wrote his songs, so I wanted to write my own songs.

By the time I got to songwriting, I had been faced with a lot of troubles as a result of my own collective of trauma. I was someone who instinctively figured out that writing songs about the struggle helps you with the struggle.

A lot of time when I'm creating songs, they're in real time. When I'm writing the song, I feel what I'm feeling for its full potential. As soon as the song is over, I'm like, I created art.

I always thought songs are movies for the ears and films are like songs for the eyes.

One of the remarkable things about love is that, despite very irritating people writing poems and songs about how pleasant it is, it really is quite pleasant.

Im always in that mode - whenever I have a little free time, Im always recording songs, writing, whatever I gotta do. Its like my job is my vacation.

When I write songs I write for myself...I'm writing it as a form of expression, and hoping to find an audience, an audience that responds to music that is honest and lyrical and tells stories.

Writing for adults and writing for young people is really not that different. As a reporter, I have always tried to write as clearly and simply as possible. I like clean, unadorned writing. So writing for a younger audience was largely an exercise in making my prose even more clear and direct, and in avoiding complicated digressions.

When I met with Peter Angell, the producer of the CD, we talked about my idea to do songs that I loved and songs that I wished I had recorded. Peter suggested that we pick some songs and see how they work with you and try to come up with arrangements and ideas about how you might want to do them.

I can never tell what's going to end up being on an album until it's all finished. I'm reading the news everyday, and sometimes I just have to be away from it. And that ends up writing the songs for me a little bit.

In the meantime [1965-67], [Bob] Dylan was again writing some of the best love songs in the genre, like "Visions of Johanna," "Just Like a Woman," and "Sad-Eyed Lady of the Lowlands."

We just wanted to write a bunch of songs that we thought were good songs.

Whether it's writing songs, being on stage, being interviewed, meeting fans - I just try to be myself, which is kind of exhausting because it almost feels like it never shuts off.

If you have to find devices to coax yourself to stay focused on writing, perhaps you should not be writing what you're writing. And if this lack of motivation is a constant problem, perhaps writing is not your forte. I mean, what is the problem? If writing bores you, that is pretty fatal. If that is not the case, but you find that it is hard going and it just doesn't flow, well, what did you expect? It is work; art is work.

I made songs in the late '90s and the early new millennium that didn't succeed very well, but songs that I made in the late '80s, early '90s, they stood the test of time. I respect those songs for keeping me relevant.

When I first started to get into writing, it was via music. I'd generate ideas for songs that would turn into stories, then they'd turn into novels. I was biased toward music.

My first break was in my home country with some pop songs that became hits, writing for French singers Christophe & Francoise Hardy, which became hits.

There are no rules when it comes to songwriting, so I'd turn Carter family songs from the 1930s into pop songs.

I changed my hopes to being a singer [when I was a child] and sat around with my hair in my face droning Mac Davis songs. Writing was sort of a last stand. Come to think of it, it was the only "talent" I had that anyone asked for more of.

When I was writing songs or performing or producing or dabbling in movies or even putting my career on hold to go to art school, I was just following my muse. A woman who did that then was criticized for having no direction. Today they call it versatility.

On Heartbreaker, I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs.

There's nothing wrong with the screaming style of singing, and I'll be the first to admit that it conveys an emotion. But I'm getting older, and I can't scream and shout about the same things anymore. The songs I'm writing with Stone Sour call for a lighter, different approach.

On a good night, I probably make three songs, and none of them are full songs.

Maybe my songs are my partner. How 'bout that? Yeah, the biggest relationship I have is with my songs.

I can write songs, I've had songs in movies, but I can't compose film scores, you know?

I think a lot of my fans are anxious for more than just my singles. They know I'm a dreamer. They know I'm someone who is real spiritual. I love to have fun, and I always have fun songs - songs you can party to. But I also always have songs you can live to, that when you're depressed, it may lift your spirits up.

There's some songs you write like you would write for a four- or five-piece band. But there are times when you start writing and you can immediately hear the full band.

We have a tradition of passing our history orally and singing a lot of it and writing songs about it and there's kind of a calling in Irish voices when they're singing in their Irish accent.

Busking taught me so much on so many levels, not just about being a musician or writing songs - actually about growing up and being a human!

I'm not really much of a fan of Drake. I don't know why; I'm not really keen on it. His songs just make you think about your ex! I'm more about upbeat songs! His songs are more sad most of the time!

The process of re-writing and writing and re-writing means that you may have a brilliant phrase, but over time it distills and distorts and changes.

I can't speak for other artists; every group has a different approach. For us, it will always be important to keep working hard, dancing better, writing better songs, touring, and setting an example.

Writing can come naturally to some. Still, when it comes to good writing, this is true: Easy reading is damn hard writing.

Writing songs does not get any easier, and that might be because I am harder on myself than I was twenty years ago. Hopefully, as we grow older and change, there are fresh topics, new perspectives, or at least there should be.

All I can say, being young people being in a band, writing songs that we felt were great... we never felt that years later we'd be selling out shows.

I have a few songs that I'm figuring out and writing. I'm still figuring out the whole concept and how it's gonna connect to Cry Baby, but I have some ideas, yes.

It is a singular reaction, this sitting still and writing, writing, writing, or ruminating at length, which is much the same, really.

There's enough songs for people to listen to, if they want to listen to songs. For every man, woman and child on earth, they could be sent, probaby, each of them, a hundred records, and never be repeated. There's enough songs. Unless someone's gonna come along with a pure heart and has something to say. That's a different story.

I always knew I was going to do something with music, but with my whole family being in the business, acting was something that was just mine. But when I was 20 or 21, I started writing songs and felt the itch to make a record.

A few years ago, when I was writing songs for my first album, I was staying with Michael Feinstein as I often did. I was working on a pilot. My grandma was very sick at the time. She died of complications from alcoholism. She always used to say [in his grandma's voice], "Red wine is good for my heart. That's what my doctor said." And we'd say, "Yeah, but not for breakfast." Unfortunately, it was the thing that killed her. I felt inspired to write a song about her and what that meant for her life and for all of us. I was writing it in Michael's house.

I enjoyed writing in school. I don't know that I was all that good at it in school. I worked at it later. I feel comfortable writing now. I enjoy writing now. I suspect, like most college students, I viewed writing then to be more tedious.

If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.