Quotes About Song

The song that I will sing is an old song, so old that none knows who made it. It has been handed down through generations and was taught to me when I was but a little lad. It is now my own song. It belongs to me. This is a holy song (medicine-song), and great is its power. The song tells how, as I sing, I go through the air to a holy place where Yusun (The Supreme Being) will give me power to do wonderful things. I am surrounded by little clouds, and as I go through the air I change, becoming spirit only.

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.

Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.

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

We haven't started playing it live yet but we're going to. And then 'Warpaint' is a song that's really, really close to me because it's actually - we've had that song for many years now and it's changed so many times, it's been through every reincarnation of our band with every drummer, with sometimes with me playing drums, it was when we were a three-piece, every incarnation of the band that we've had we have played that song.

Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.

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.

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.

We learn a language through its song, and even if you don't have music you have the song of people you love's voice, and you'll notice that song in their voice.

'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.

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.

I think the difference between a good song and a great song is... honestly, I think the lyrics, because if you have a really solid melody and solid track and everything is there but then the lyric is just okay, then you've got a good song.

There has to be a song. There are too many dark nights, too many troublesome days, and too many wearisome miles. Somewhere deep in the forgotten corner of one’s heart- there has to be a song. Like a cool, clear drink of water and like the gentle warmth of sunshine, and like the tender love of a child, there has to be a song!

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.

Whenever I think I know something is a classic, or an amazing song, I realise it's still so subjective, because you and your friends could be talking about something, say, '(I Can't Get No) Satisfaction' - an amazing classic song - or someone would be like, "'Hey Jude' is an amazing song!", and I'd be like, "I don't really like it."

No one can threaten poetry. It's always been there, always will be. Humans need it to live: it has sustaining powers. How could we (anyone) get through adolescence without some form of song? Song is only a version of lyric poetry that is carried more by melody than by internal coherence and unity. but lyric and song - they are the same.

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?

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.

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.

I think our songwriting has evolved. We can show that we have continued to branch out and do different stuff and incorporate different instruments. When it comes to writing, I think that we have pushed the envelope. We can do whatever we want to try - a longer song or a shorter song, some different instruments, some piano, an intro with just vocals, something that's scathing. Whatever. However we feel the song should go, that's what we will do. With that mindset, I think it's made us better writers.

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

But when I hear a great song, I can't help but be inspired by it, regardless of whatever genre that song falls under.

First, in a love song, or any song for that matter, using a plastic word like "inhibitions" is just completely without feel or texture. It demonstrates a tin ear for communication.

You're creating an intimacy that everybody feels, that it's their experience, not yours. I'll never introduce a song and say, now this song is about 'my' broken heart.

Writing a song isn't that hard. Writing a good song is difficult. Let's face it, we're faced with taking a complex feeling or event, making words rhyme and saying exactly what we want them to say in a short amount of time. ...the primary reason for keeping it short and to the point is to be certain that you're not boring your audience.

For me, a song doesn't really take flight until it has a lyric on it. ...Without a lyric that I'm happy with, it could be the greatest song ever melodically or arrangement-wise, but it doesn't have any resonance.

I can't bear working with a click track, we're not click track people. But for "Mercy Is ..." we all got in one mind because the song is delicate; it's not a song that showcases a vocal or some virtuoso.

We wanted to write a whole song about partying and then taking Yellow Cabs home. That's the weirdest topic we've ever thought of centering a song around.

The same song on a different day was a different song.

You can write a song about a girl or you can write a song about walking down the shops, and it's fine. I just try and do something as meaningful as I can without trying to be a pretentious loser because it's genuinely just how I see things.

No one worries about genre when they're dancing. They're not asking themselves, 'Is this song a dubstep song?'

The importance of selecting music and sequencing songs - making one song merge into another song. In retrospect, those are the most important lessons I got from DJs.

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.

Certain songs have a life, and certain songs don't. A song is like a saddle: you ride it for a while, and if it's the right kind of song you can sing it for the rest of your life. And then other songs are only really important for certain periods of your life, and you move on from them and find yourself not necessarily needing to sing them anymore.

When Billie Holiday sings a song, I hear the song, but I always hear her and her truth.

Morrissey writes wonderful song titles, but sadly he often forgets to write the song.

When that much time goes by, you're really listening to your old music differently. At the time it's written, it was the beginning of our career and with every song we're thinking, 'This is what's creating us.' Now, nothing is creating us. We're well-created. We're there. It becomes just pure pleasure and you become sort of an archeologist of your own music. You don't judge it, because what's the point? It's a 30-year-old song. It just becomes fun.

I released that I could crank out a song if I practiced it a lot. If I am in the practice of writing songs everyday or every other day, getting ideas and following through with them, and not just saying "I've got this idea, but I will get to it at some point." If I actually sit down and not be lazy, and follow through with it then you just get in the practice of doing things. It feels very productive, and then it gets a lot easier, because you are working the muscle in your brain. The "song-writing muscle" so to speak.

The reading of the song is vital. The written word is first always . . . first. Not belittling the music, but it really is a backdrop. To convey the meaning of a song you need to look at the lyric and understand it.

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'm sure there's going to be some material from This Is Not Going To Be Pretty. I usually use that song to just introduce myself to the audience, although the patter in between the song is always different.

Say you write a song about a chandelier, and the chandelier gives off light. And the light is the color red and red reminds you of the color your not supposed to wear around a bull. So you name the song 'Cow.'

One of my favorite things as an engineer is watching a band get comfortable in the studio and getting a great take. Like, they're playing the song, warming up, and then suddenly, the communication really happens and everybody's really in the song, and they nail it, and then that's the take.

Song: Heloise and Abelard by Elizabeth Devlin. Beyond the a propros subject matter, this lady can really play the Autoharp. This song sounds like something you'd find on a gramophone record.

Sometimes I'll have a whole song done without having a beat - I'll just rap on an instrumental tempo and recreate a whole new song just around the lyrics.

The reality is not exactly what the song started out to be, but it's not a bad song.

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.

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.