Quotes About Song

The pause makes you think the song will end. And then the song isn't really over, so you're relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.

A song like "Walkabout", it's totally imitative. The goal of that song was to make people happy, and I've never really made a song to make people happy before. I really genuinely wanted people to listen to that song and have their spirits lifted.

In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.

If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of the street, on the roof of a house. It's clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It's a wordless song, for the most, but it's a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note.

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 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.

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.

You're not going to hit it every single time, and that's why, when I record an album, I do probably close to 50 songs. Each song I record has to get better. If it's not better than the last song that I made, it'll usually linger for a couple of months, and then it'll be put on the backburner, and then there'll be another song that I do, and then it often doesn't make it on the album.

What is good is what it's going to lead to, like the song "Jai Ho." If good numbers are going to come in the future, it bodes well for a lot of things. But then, who's going to maintain that. That's the question. So far they could never lead to an Indian song, like a normal film song in this that they can relate to.

'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.

Right away, I knew I didn't want to have that look of other guys with long hair and bell-bottom pants, because everybody else had that look. I kind of adopted my boarding-school look, which made me stand out. Then the next thing you know, the first song on my first record is a song called "School Days." It's about going to the boarding school I went to. So then I just started to write about myself. The very first song I ever wrote was about a guy I met in a boatyard that we were working in. So I've always had this thing about sticking to more or less what I knew.

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.

Whatever be the depth of woe Along the path that I must go, I'll sing my song— My song of joy for all the love That's lavished on us from above, And count no loss of treasure-trove When things go wrong. I'll sing the sunlight, and the bright Soft smiling stars that gem the night; For gifts of good That God hath spread along my way, The lilt of birds in tuneful play, The harvests full and flowers gay, The whole day long I'll sing my song Of gratitude!

When you get to say something in a song you're not directing it necessarily at one person. When it's in a song it's easier to get it out. I don't really worry so much about it when I'm writing a song.

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

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.

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.

I wrote 'Lights' a long, long time ago. And I expected it to be on the album, because it was - I wrote it with 'Biff' Stannard. And he wrote every single Spice Girls song and every single pop song of the 90s, basically. So I thought, you know, I was really lucky to work with him, but I didn't think it would be a big song for some reason.

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.

Yeah. My singing and my songs were very influenced by all of that. People would come up to me and ask, Is that a Billie Holiday song? I'd say, No, it's my song. The lyrics would be in my style, but the songs would be very jazzy.

I was asked by a group to write a song on the theme of brotherhood. This was before women's liberation, when brotherhood meant men and women both, so I wrote the song. Since I had always been very fond of the Passion Chorale, I wrote words to that great piece.

For all of my life, I've had this one song in my head, and I'm still trying to write it. I'm still trying to get that song out. I'm getting closer, every record I get a little bit closer to saying it the way I want to say it.

It's that feeling when you hear your favourite song. That feeling, whether you're in a car, at a party or alone at home or in bed and you hear this song and it just hits you so strong - that’s what we aim for.

I have this rule: It's like, if you write an amazing, cool song that you mean and then you go put your leather pants on and sing it in front of people; that's OK. But if you put your leather pants on and stand in front of the mirror and go, "Ok, I've got to write a song to fit these pants," then you're in trouble.

When I'm playing music I'm usually not thinking of surfing, just because I'm usually thinking about the chords and the lyrics, and sometimes that messes me up 'cause you'll start thinking, "Wait, how am I doing this?" But when I'm surfing, I'm usually thinking about music - whether it's an idea for a new song, or just singing a song in my head.

I sing, not to hear the echo repeat, a shade fainter, my song! I think of light and not of glory! Singing is my fashion of waging war and bearing witness. And if my song is the proudest of songs, it is that I sing clearly to make the day rise clear!

Every song has a memory; every song has the ability to make or break your heart, shut down the heart, and open the eyes. But I’m afraid if you look at a thing long enough; it loses all of its meaning

Don't Let Me Be Misunderstood," a song that was written for Simone, she confronted the band's lead singer, Eric Burdon. "So you're the honky," she said, "who stole my song and got a hit out of it?

I started with the chorus of that song, kind of like a fun bouncy thing to play, and then one of the lines popped up: 'I got things to do today, people to see, things to say.' I wrote about a dozen verses for it, but no song needs to be that long unless you're Bob Dylan. So when we recorded it I started to tear it down to some of the lines I thought were the funniest.

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

Well, it grow together. It's like, first time I try to write a song is the first time I try to play the guitar. And so I can write a song without the guitar. But it really grow together. I really like stay with my guitar. But it just happen, is the inspiration come through man. Because, I personally, it look like, could I write a whole heap a tune, it look like. But I pick special tune to write. Cause a man can think of plenty things. Yuh know wah ah mean.

I can't say that I'm always writing in my head but I do spend a lot of time in my head writing or coming up with ideas. And what I do usually is write the music and melody and then, you know, maybe the basic idea. But when I feel that I don't have a song or just say, God, please give me another song. And I just am quiet and it happens.

When I'm writing a song, it's just me and the songwriters. Then when the song is done, there are publishers that hear it, then people in my management, then my wife and my boys and my friends, and if they're all lovin' it, it's kind of withstanding all the criticism I need.

Yeah. I'm amateurish. I can play enough to write a song, or strum on a little guitar to write out a song. But, I don't play well at all. I wouldn't even attempt for a second to play in public.

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.

When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.

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.

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

Writing a song doesn't heal things. Even if the song comes up with a solution, it's still only a theory. Going out and living my lyrics is a whole other deal. That takes courage.

Making a record's a real fight for me. I'm constantly fighting with this thing inside of me that says I should be sitting in a room with Matthew Shipp or I should have Han Bennink on drums or this song should be playing for the next 20 minutes in my head, not a silly little pop song. It's constant.

A song is a song and a hit record can change a life.

The idea of listening to a record that's in one generic style, it becomes quite boring after the third or fourth song, in my opinion. It just becomes a bit... when you've got the same arrangement on a song, your ears get tired. I come from a DJ background and it's about trying to put songs together that don't fit necessarily but you can get away with putting them next to each other. I think of myself as a punter and ask myself: what would I like to hear?

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 love to be in control of everything I do and everything around me. So that means, you give me a romantic lyric and I'll make the atmosphere, I will build on that. And then the song then becomes, it takes me to do the song, it's just a belief, it's just who I am.

He who sings a song to Christ in the night, sings the best song in all the world; for he sings from the heart.

Glen Campbell told me, 'Stay out of the way of a good song.' I think it's true. If a song's good, don't overdo it.

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.