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.

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.

I learned very early in life that: 'Without a song, the day would never end; without a friend, a man ain't got a friend; without a song, the road would never bend-without a song.' So I keep singing a song.

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.

somebody/ anybody sing a black girl's song bring her out to know herself to know you but sing her rhythms carin/ struggle/ hard times sing her song of life she's been dead so long closed in silence so long she doesn't know the sound of her own voice her infinite beauty she's half-notes scattered without rhythm/ no tune sing her sighs sing the song of her possibilities sing a righteous gospel let her be born let her be born & handled warmly.

There are times when I want to be plainspoken about my feelings in a song. But there are other times when it's really good to try and get my head around different kinds of song structures, or maybe I might get turned on by trying to write a song that would fit in this one scene in a movie. And by the end of all this, you just end up with a bunch of different ideas. And songs are really just ideas.

I would never sit and write a song in front of anyone, because you're so vulnerable. I don't know at what point in the process that it becomes acceptable to pass them on. When a song wants to be written, it will be written. When it does come, I will very rarely go back and edit lyrics. I'm quite a rational human being, and the only part of my life that I can't rationalise, or can't make sense of, is how a song gets written or why.

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.

Years later, you can hear a song, and it brings you back right to that moment, what was happening at that time, whether it was a relationship or a difficult time, or maybe a great time in your life, and you had that album you were listening to. Twenty years later, you can put on that song you fell in love to or your heart was broken to, and you hear that song and it brings you right back there. I think music is the most powerful tool we have.

I love lyrics. I've always been averse to the straight lyric idea. I guess a big part of it is, that songs that are literary always turn me off. Because they feel so abstract. Like a song. What is a song? We have to remember what the function of a concert and the function of playing a song for people are. It's all become really abstracted.

[Best original song nomination in 2016] should be Wiz Khalifa for "See You Again," but this is an amazing song and it's easily the biggest song out of any of the songs nominated. It was a huge hit. And really, I'm just happy for Weeknd as a person.

You are hearing this song, and you're 16, and it's a song about love, or a girl. And then maybe there's a girl at school that you like. So you're going to be thinking about that girl. That song is sort of about that girl. The songwriter doesn't know that girl, obviously. He wrote it for something else. But there's the specific meaning with the universal again.

Music is a total constant. That's why we have such a strong visceral connection to it, you know? Because a song can take you back instantly to a moment, or a place, or even a person. No matter what else has changed in your or the world, that one song says the same, just like that moment.

I have a very eclectic iPod. So I've got my cardio people - so it's anything from Beyonce to some Jay-Z to Janelle Monae, her song 'Tightrope,' that's a good cardio song. And then I've got Sting. I've got Mary J. Blige. I've got The Beatles. I've got Michael Jackson. I try to pick the songs that I personally love.

With the aurora borealis flaming coldly overhead, or the stars leaping in the frost dance, and the land numb and frozen under its pall of snow, this song of the huskies might have been the defiance of life, only it was pitched in minor key, with long-drawn wailings and half-sobs, and was more the pleading of life, the articulate travail of existence. It was an old song, old as the breed itself--one of the first songs of the younger world in a day when songs were sad.

I don't think I ever wrote a song. I can write a lot of jokes, but when I try to write lyrics they're the most direct, non-figurative words, like, 'I like you, I like you,'... and that's it, for the whole song. People would go, 'Ooh, this guy's Dylan or something.' It gives me a lot more respect for songwriters, actually.

I always loved that old song Banks of the Ohio - it was always such a man's song, so I've always wanted to record it.

I write anywhere. I'm always banging around on the dashboard. Whatever I'm doing. I can make music out of anything. Whenever a song hits me, I'll pick some sort of melody or rhythm out on it, and kind of enhance the song.

It's a really big struggle for me to write a song. Songs take either 30 seconds for me to write or a year or two to piece together, depending on the song and how I'm feeling on any given day. I don't really like to write music at all unless I am completely unbothered by touring.

Anytime you spend six months on a song (Born to Run), there's something not exactly going right. A song should take about three hours.

On social media and [in person] I hear stories of how a song like "Home" helps. Whether it's a guy overseas coping with missing his family or something deeper and terribly dramatic. Somebody once told me that ["Home"] is the song they listen to when they go to the cemetery to visit their child that passed away. It gives them hope. At the end of the day, that's all what I want to offer people.

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.

Generally, if you could picture a bunch of rock and roll momentum behind a song and it was particularly melodious, maybe the Pornographers would do it. If it was kind of moody and more lyrical, then maybe it would be a Destroyer song. Anything that's really lyrically driven I would keep for Destroyer.

I finished your song, she said. Our last song. And I want to play it for you.

I see pictures in my mind and become the character in the song as I'm writing. It's kind of method songwriting, where you're the actor in the song.

I have a song deep in my heart, And only I can hear it. If I close my eyes and sit very still ...It is so easy to listen to my song. When my eyes are open and I am so Busy and moving and busy, If I take time and listen very hard, I can still hear my Heartsong. It makes me feel happy. Happier than ever. Happier than everywhere And everything and everyone In the whole wide world. Happy like thinking about Going to Heaven when I die. My Heartsong sounds like this: I love you! I love you! How happy you can be! How happy you can make this whole World be.

I get an audience personally involved in a song - because I'm involved myself. It's not something I do deliberately: I can't help myself. If the song is a lament at the loss of love, I get an ache in my gut. I feel the loss myself and I cry out the loneliness, the hurt and the pain that I feel.

Black Americans should be given credit for finding probably the perfect weapon; the weapon of the song. And that song continues. Most holocausts don't, so they have this bitterness left over. The phenomenon of the world, as far as Black Americans are considered, is that we are not a bitter people.

"St. Lucia We Love" is actually a song produced by Stratosphere music (also St. Lucian). The CEO of Stratosphere music approached me and wanted me to produce a music video for this song which was already a hit in my country. I felt privileged to have been chosen to do such a video. So every time I went out to shoot a scene from the video, I would get a still shot from the scene to tease the public. The photo of the amazona versicolor is is an actual scene from the video which was released on St. Lucia's Independence day (22nd February, 2013).

If you're up there performing a song for the first time, it's as if you're hearing it through their ears. You become acutely self-conscious of the song in performance, so that's a good thing before recording. But I like to have some surprises for the audience; I don't want the audience to know everything that's going to be on the record, because these days, with the Internet, people become avid collectors of pre-knowledge.

I give myself the luxury of time in shaping a song. It's very common for me to work three months or more on a single song. Plotting takes time and effort, for there are many false turns. I fill up pages and pages with my mistakes, thereby eliminating them. Eventually a trail is broken through this mountain of mistakes. Sometimes it's as easy as putting eggs in a basket; other times it's like trying to pound a ton of sand into a diamond.

Sometimes a good love song can change the world and create positive energy more than any political song can.

While I wanted to be supportive of Kanye [west] on the phone call, you cannot 'approve' a song you haven't heard. Being falsely painted as a liar when I was never given the full story or played any part of the song is character assassination.

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.

Cruel of heart, lay down my song. Your reading eyes have done me wrong. Not for you was the pen bitten, And the mind wrung, and the song written.

If I hear one of my songs by anybody, it's a dream come true every time for me as a songwriter, because I want to write a song, I want to write a song that the world can sing and will always sing.

Okay, a truly great song is a song that makes its own aesthetic intentions clear and then lives up to them and exceeds them in an interesting way. Alright?

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

I like a very dark house, just black. I sit there and just think. Once I'm still and quiet inside, I'll begin. It's very personal; it has to be. One song may be Bach, the next blues, a song from TV, or a nursery rhyme or jazz piece.

There are two things John and I always do when we're going to sit down and write a song. First of all we sit down. Then we think about writing a song.

I always want to do something that just sort of fits the mood. It's supposed to help the song, it's not supposed to take away from the song or re-contextualize it. I always feel like the less you make it a conceptual territorial debut, the better.

If you start out with a song sounding like Britney Spears, and you end up with a song sounding like Pauline Oliveros, you'd better have pretty good liner notes explaining what on earth you mean.

Rabindranath Tagore writes that the song he wanted to sing has never happened because he spent his days "stringing and unstringing" his instrument. Whenever I read these lines a certain sadness enters my soul. I get so preoccupied with the details and pressure of my schedule, with the hurry and worry of life, that I miss the song of goodness which is waiting to be sung through me.

I always know when a song is good or close to finished. When I sing it, it makes me feel the emotion. My tears will start flowing or I'll start laughing. I'll start feeling whatever intensity or emotion was the seed of that song.

Eventually I had so many little melodies and ideas that, you know, that they were all songs to me and I threw in a few cover songs like Enya's "Watermark," Bach, and my dad's song, "Song for the Whales."

I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.

Future's Pluto is my favorite album of the year. It's so emo. Future is the number one dude I'd love to produce for - every time I listen to the song he did with Rihanna, "Loveeeeeee Song", I'm like, "I should have produced that."

The song of the voice is sweet, but the song of the heart is the pure voice of heaven.