Song Quotes

Every song is different.

A song is anything that can walk by itself.

I can't see myself singing the same song twice in a row. That's terrible.

I've never written a political song. Songs can't save the world. I've gone through all that.

Sonnets are guys writing in English, imitating an Italian song form. It was a form definitely sung as often as it was recited.

Like most kids, I grew up singing 'This Land Is Your Land' in grammar school, but with the most radical verses neatly removed. This was before I knew it was a Woody Guthrie song.

Thus we have at least a national song that unites all Germans, and is the symbol of our sixty-million nation.

I think a song that's got something to say. I'm not much on gimmicks. I never have been because they don't last. But I like a song that tells a story and has some meat to it, you know, that means something.

What a song is is a subjective thing. There's no one real definition for it.

You could play the blues like it was a lonesome thing - it was a feeling. The blues is nothing but a story... The verses which are sung in the blues is a true story, what people are doing... what they all went through. It's not just a song, see?

The one album I can't live without is called 'Cumbolo' by a band called Culture. Every song on their album is deep, but there's one in particular called 'This Train.' I have a tattoo of the lyrics on my left arm.

Every leading lady I work with, I'll see if I can get a song out of them and put it on an album.

Any idiot who knows five chords can bang a song together. But it's probably going to be rubbish.

I wanted to write a song that's known to the world as a classic, stadium-rock anthem.

There's a lot of rage... you have to express it somehow. If I didn't express it in song, I'd become incredibly violent.

I get plenty of, 'Is that song about me?' from men but I just tell them to get over themselves.

When I did '1,2,3,4' on 'Sesame Street' they'd rewritten the song and made it about counting. At first, I balked. I was like, 'Counting to four? That's where we're going with this?' Then they sent me appearances by other people like James Blunt doing 'You're Beautiful' as 'My Triangle.'

When I first played '1234' it was on stage in San Francisco at some kind of, like, sticky-floored club. And it felt like a punk song. I mean it's ridiculous to say that now, but it had that kind of, like, piercing straight melody. And then this fist-pumping ending, you know that pa-dap-pada.

You never know what's going to play into what's worthy of getting encapsulated into a song.

In song the same rule applies as in dramatic verse: the meaning must yield itself, or yield itself sufficiently to arouse the attention and interest, in real time.

Sometimes I have thought that a song should look disappointing on the page - a little thin, perhaps, a little repetitive, or a little on the obvious side, or a mixture of all of these things.

A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.

I'm glad that our music motivates people to exercise. If I had to pick just one song to run to, it would be 'Violet' by Hole. It makes me want to run.

I don't want to have a song like 'My Humps' and it be sagging down, so I pay attention to that area. A lot.

If you are not happy with the song, don't sing it. Simple as that - no-one forces you to do it.

We weren't raised Muslim - we were born Muslim. I didn't go to a Muslim school, but it was just the theme song. It was ambient.

But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.

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.

In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.

I don't think we should speak so much. What if we were singing a song? We split, whilst singing.

Producers like to record all the drums first, then they do the bass, then all the guitars, so you're constantly moving from one song to another.

When you're in a band and there's five of you, you have to accommodate five people in every song.

With every song that I write, I compare it to the Beatles. The thing is, they only got there before me. If I'd been born at the same time as John Lennon, I'd have been up there.

Every song that I play I wrote by myself.

I don't much like 'Wonderwall,' but the effect that song has on people, I can't deny it.

In an attempt to amuse my friends and family, I would do impressions of Dean Martin, singing Everybody Loves Somebody. I secretly really enjoyed singing the song.

We are all treading the vanishing road of a song in the air, the vanishing road of the spring flowers and the winter snows, the vanishing roads of the winds and the streams, the vanishing road of beloved faces.

Each song is a lifetime, it begins and ends, and there's a journey taken within the songs.

I think that a song, when it works, never mind a piece of long form music, even a song is something that speaks to itself but has a language all of its own, ideally.

I had written lyrics to a song called The Silent Extreme, which Alex later renamed Humans Being.

It sounds like something from a Woody Guthrie song, but it's true; I was raised in a freight car.

Every song is like a kid. How can you have that many kids and have a favorite? Which one do I like to hang most with? Probably the one that I haven't hung most with recently.

Every song is like a kid. How can you have that many kids and have a favorite? Which one do I like to hang most with?

If Paul McCartney tells me that so-and-so song is his favorite song, what do I care? What do I care what anybody else says?

My best album is called In Search Of A Song. That was my best shot right there. My finest hour, as they say. I could listen to the whole thing all the way through. There's nothing really crammed into it.

The best compliment I ever had is, one day I was in Nashville, some disc jockey said, Hey, that sounds like a Tom T. Hall song. Up until then there hadn't been any such thing.

It used to be that you'd have a song recorded by a major country artist and if it was a hit, you could buy a car. Now you can buy a dealership.

I can make a song up about anything: garbage, the weather, things in the news.

Let's say music is needed for only 43 seconds of film. You have to score it so it is an entity, so it won't bother anyone when it ends so quickly. Or if a song runs 2 minutes and 45 seconds, but the titles run a minute longer, you have to arrange that song so it doesn't get repetitious.

I continue to believe, contrary to the given wisdom, that it's more interesting to have an album - or, indeed, an individual song - which has variety rather than homogeneity.

Whenever I heard the song of a bird and the answering call of its mate, I could visualize the notes in scale, all built up within my consciousness as a natural symphony.

A bird doesn't sing because it has an answer, it sings because it has a song.

The band set up in January and just started rehearsing. If there was a song, we'd just rehearse it as a band, and it would get arranged as a band, and it got changed around a lot.

But we used to go to flea markets and things, and look for old 78 records that had silly song titles.

Larry only ever wrote one song, and he wrote that with Tony Kaye, I think it was, from Yes.

If I'm focusing on playing and enjoying the song, then it always goes well. I get lost in the song, and the performance is so much better. If the focus becomes not making a mistake, then it just feels rigid to me.

I never set out to write a certain kind of song, I just play my guitar and see if I catch something.

It's always interesting - how do you actually convey thought through song? We're used to the convention on stage. In film, we used to be used to it, and now sometimes it works and sometimes it doesn't. You need to be fresh and really look at the material.

A lot of times when songwriters get together and write a song... somebody will come in with a hook and a lot of times they come out with something that sounds a little crafty.

A country song is a song about life.

I think Frank Ocean is a talented artist; I think he's created material that made me know his name, that impressed me, with things he said on a song like 'Novacane.'

When I put out my first mixtape, '50 Cent is the Future,' it was the first tape where an artist did the entire tape in song format.

Without a song, each day would be a century.

If you want me to sing this Christmas song with the feeling and the meaning, you better see if you can locate that check.

I close my eyes when I sing so I can feel the song better.

I have eighteen titles in the German language. I had a number one song in 1965.

We're feminists. We're doing something that only guys are expected to do and doin' it right! At our concerts we'll do one hard-core rap song and then do one where we'll be real sexy.

'None of Your Business.' It's the only Salt-N-Pepa song that I regret.

My mother always told me, even if a song has been done a thousand times, you can still bring something of your own to it. I'd like to think I did that.

It took me 29 years to finish that song. That's a typical Jardine move.

When you enter the realm of politics, you don't enter it because you want to be popular. When I want to be popular, I pull on a guitar and sing a song.

For me, with the Blue Man Group, I got asked. It was for the Royal Variety Show, which was something I always wanted to be a part of. I'm really interested in things people don't necessarily expect. I did a pop song, but I did it in my own style.

I went to a radio station on Long Island in 1982, and thank goodness for me, it was so new that there was no receptionist. So the DJ opened up his booth, and took my tape and listened to it and thought it was a hit song.

By the time I got to record my first album, I was 26, I didn't need pen or paper - my memory had been trained just to listen to a song, think of the words, and lay them to tape.

You want to reach people, but you also want to reach them in the most authentic way. You now have a mass market and an audience that's listening, but they're in love with a song that means absolutely nothing to you.

It's very rare that a song falls from your mind complete.

I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.

I mean, I could just go round and use session musicians for every song, but I don't find that helps when it comes to setting up a band for live. Derrick has been with me for donkey's years.