Words matter. These are the best Pop Song Quotes from famous people such as Aaron Lazar, Ian Axel, Ryan Tedder, Mika, Washed Out, and they’re great for sharing with your friends.
You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
It’s different for every song. But for ‘Say Something,’ I think it was Chad who had an idea on guitar, and I had an idea on piano for different songs, and we just married them together. We bounce things off each other constantly and kind of massage all these ideas into a three and a half minute pop song.
I think the true test of a pop song, for me, and I’ve talked to a lot of other writers about this, is you take your demo, you pop it in your car and you drive down Sunset Blvd. to Santa Monica, and that’s the Hollywood car test.
I think, ‘How could anybody mock a good pop song?’ It is timeless; it transcends barriers; it breaks down every single type of social barrier that you can possibly have. It can deal with the most difficult subjects, even if it abstracts the subject matter.
I do try to structure everything in a way that’s very much like a pop song. I try to keep the arrangements really simple, just to make everything essential.
To look for some kind of insight or meaning in pop songs is not really – well there’s plenty of other places where you should probably look first before you start looking for it in a pop song.
In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
I’ve never really gotten into the whole labels thing. There were times I would cover a pop song, and people would say ‘You sound really country.’ I gave up on that whole thing a long time ago.
I really felt like ‘Chandelier’ was a big pop song. But we weren’t sure what would happen if I wasn’t willing to show my face and do promo and go on tour and do the traditional kind of pop strategy. So I had no expectations.
I don’t know if I could write a pop song without at least a little touch of bite in it, and it’s usually not a bite that most people would want to sing.
Why can’t you write a great pop song when you are 85? Maybe you can.
Like everybody else, I love a good pop song. You know, there’s nothing like it. I also just really like music that goes off on extended forays of extrapolation into different areas. So it’s kind of nice to be able to move between those two poles.
Like, I wanna be the producer with the Selena Gomez top-charting pop song, and like, a top-charting Migos or Gucci song in urban. I wanna just take over everything, you know?
No one wants the picture-perfect song anymore. I’m trying to keep the beautiful qualities of pop – nostalgia, melodies, and the feeling that a beautiful pop song can give you – but make it real. It’s not polished.
It’s so easy for me to do a boy-bashing pop song, but to sit down and write honestly about something that’s really close to me, something I’ve been through, it’s a totally different thing.
A timeless pop song is the hardest thing to do as a songwriter.
All men that date me have to know that their name may end up in a pop song.
Saying you have a political solution is like saying you can write a pop song that’s going to stay at the top of the list forever. I don’t have many illusions about this, but I’m not cynical about it.
When I sing a pop song, I’m a pop singer. When I sing a country song, I’m a country singer. I’ve been very lucky to cross over, because by doing that, you can’t be pigeonholed.
I do loads of pitch writing as well, where you write a pop song and then pitch it to DJs who can then work with the song, and sometimes they keep your vocal on it. It’s just good to be involved in different things.
You have to ration your creativity over all your songs. You write a really cool pop song then you have to write a heavy song to balance out, then you need to think about singles.
Your average pop song or film is a very sophisticated item, with very sophisticated ways of listening and viewing that we have not really consciously developed over the years – because we were having such a good time.
Every single song on ‘Torches’ was a little self-contained pop song, so there wasn’t any fat on the songs; there wasn’t a lot to cut.
I’m inspired by artists like Robyn, just because she writes amazing pop songs, and they’re not throwaway. When I listen to a Robyn pop song, I don’t feel like she’s just kind of saying something and not thinking; I feel like it’s really emotional.
A great pop song should be felt when you hear it.
For me, a perfect pop song is something like ‘This Year,’ by the Mountain Goats.
A Hard Day’s Night’ is the most perfect pop album you’ll ever get to hear in your life; it’s filled with definitive versions of the two-minute pop song.
The perfect pop song is about creating a memory.
We didn’t want to worry about the formula that has been implanted into our brains – this verse/pre-chorus/chorus format. When we were writing ‘The Papercut Chronicles,’ we had no idea about any of that. We didn’t know how to count bars or how to write what’s considered a well-formatted pop song.
I’m not a pop song lyric writer. I can’t just focus on one simple meaning or even a double entendre.
I think pop music was going through a phase where it was like pop but dance-hall or pop but R&B. But, no, I just want a pop song.
I’m an older woman who’s not going to have a shiny pop song ever again, so that gives me license to do whatever the hell I want.
I’m not the best at choosing what’s good and what’s bad. I wouldn’t even know what’s a good pop song and what’s a bad one. With that said, I wanted to say what’s true to me. Some people might say that the Skrillex record was pop, but that was just about the chemistry between me and my boy.
Pop music has greater power to change people and to affect people because it’s a universal language. You don’t have to understand music to understand the power of a pop song.
I try to not go, ‘I’m writing a pop song.’ Music is inherently genre-bending.
When we try to write a pop song, we go for standard pop arrangements, even to the point where we will go to the key change at the end, which is really cheesy.
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 think ‘Rather Be’ is an amazingly written pop song with incredible production.
I’m totally convinced I can write the perfect pop song.
I have the most eclectic music taste out there. I can be listening to an indie pop song just as easily as I could be listening to a Carly Simon song from the ’70s to a country song.
Creating a decent pop song is a challenge – and occasionally, once in every decade – it’s kind of fun to do that.
I’m trying to use people like Meredith Monk and Philip Glass and Terry Riley as the backing tracks for new pop songs. It’s really hard trying to use the format and write a pop song on top of avant-garde music, so we’ll see. It could be cool, or it could totally flop.
I’ve done bits of writing for other people but when I’m writing music as Years & Years, I’m using my life and my stories and my experiences. I want it to be authentic and real but also to work as a pop song – I never want to just put in a cheesy line.
Pop is like a puzzle: to write a perfect pop song, you never know, and there’s so much that can happen in a second with a song.
I realized probably when I was, like, 20 years old that the hardest thing to do is to write a pop song – not, like, a candy-pop, throwaway pop song.