Words matter. These are the best Songs Quotes from famous people such as Troy Carter, Mitch Grassi, Teddy Thompson, Florence Welch, Chris Rea, and they’re great for sharing with your friends.
Spotify favors hits. It’s very much a meritocracy: It’s not like radio, where whatever is being played is what you hear. We offer songs up, and from there, it’s up to consumers to stream the music or not.
There are a couple different factors that play into the decision of which songs to cover. It could either be we’re really inspired by a song that’s just come out or inspired by an international classic, but either way we bring it to the band.
I love the sad songs with their maudlin, self-deprecating, almost funny lyrics. As an Englishman, they make a lot of sense.
I’d experimented with so many different types of music. I had these folky songs I’d written and recorded, but something wasn’t quite right.
My ambition, a long time ago, was to be a film music writer. A compromise then was to be the guy who wrote songs for a band and played slide guitar. Then the singer didn’t turn up for an audition, and I was the only one who knew the words. That was it – bingo! Life took a different course.
You write in songs what you’re too scared to write in real life, and then you sing the songs to loads of people instead of telling it to the person you should be telling it to… Songs are a great way of dealing with those issues but kind of a coward’s way as well.
Somewhere around the fifth, sixth album, we got this little formula together where we knew how to record Too $hort songs. You need the bassline, a good drum pattern, call in the keyboard, the guitars – it’s just a way we mixed it all together.
I want to only sing songs that I have lived with; that can’t happen with six tracks at the same time.
I really love rap music. I grew up in the ’80s and ’90s with Public Enemy, N.W.A., LL Cool J – I’m a hip-hop encyclopedia. But I got kind of frustrated with the chauvinistic side of rap music, the one that makes it hard to write songs about love and relationships.
Starship was a whole different thing. It was pop rock. It made more money and had more hit songs than Airplane. There was no cultural or social ethic behind it. For me, it was like selling out. I was the only one selling out. The rest enjoyed doing what they were doing.
The thing with Led Zeppelin songs is that they were never the same. They were very fluid and tight but loose.
I’m not going to be rockin’ n’ rollin’ when I’m 50 years old. But you can be in your prime on television, compose songs, or write a Broadway play when you’re 50.
You know, Nirvana used to start rehearsals with the three of us just jamming. For, like, a half an hour, just noise and freeform crap – and usually it was crap. But sometimes things would come from it, and some songs on Nevermind came from that, and ‘Heart Shaped Box’ and stuff on ‘In Utero’ just happened that way.
At first, I was using my sister Susan’s lyrics, as I could not write myself, only the music. And then one day, she and I had a fight, and she threatened to take away the lyrics from all the songs that I put the lyrics to, so it was that day that I began writing my first lyric to the music.
Great songs stand out wherever they’re from.
Every year we celebrate the holy season of Advent, O God. Every year we pray those beautiful prayers of longing and waiting, and sing those lovely songs of hope and promise.
Whenever I listen to songs, I rewrite them in my head.
If you can’t get your songs to people one way, you have to find another.
I’ve established this kind of wild persona and these redneck party songs and a live show that’s kind of rowdy, but I don’t want people to think that’s what I’m all about.
My art is not limited to the songs I create but also to the reaction it creates. I like to sit back and look at the whole thing as if it’s a tornado that I’m controlling. It’s creating chaos. When you create chaos, ideas are turned upside down, and everybody looks at things in a different way.
I find in my poetry and prose the rhythms and imagery of the best – I mean, when I’m at my best – of the good Southern black preachers. The lyricism of the spirituals and the directness of gospel songs and the mystery of blues are in my music or in my poetry and prose, or I missed everything.
Queen songs are not about the life of a rock star – they tend to be about the lives of normal people, which is why I think the songs connect so much. We’re very lucky that they seemingly connect with every generation.
I just love writing songs and singing them. People seem to enjoy them, and that’s all you can really ask for. I didn’t get into it to try to be a celebrity or whatever.
I’m just a wee, chubby boy that happens to sing songs.
Everyone who knows me knows that I’m a hopeless romantic who listens to love ballads and doo-wop songs all the time.
I met Arcade Fire on their first record, ‘Funeral.’ I loved that record, and it was a record I was listening to while I wrote ‘Where the Wild Things Are.’ Those songs – especially ‘Wake Up’ and ‘Neighbourhood’ – there’s a lot of that record that’s about childhood.
My mum would play Stevie Wonder around the house, and I remember just loving the songs and feeling so blown away by how much was going on.
The words of the songs speak for themselves.
When I trained with the Japanese team, there we’d be singing Oasis songs at the top of our voices at the top of the jumps. People thought we were daft.
Singing your own songs is all about individual expression.
If I can’t sing them myself, there’s nothing better than writing songs for other people and watching them be performed. It’s kind of more thrilling than doing it yourself.
When I write music, it’s very strange: maybe it’s normal, but I see things in songs in different colors.
If you break down most rock songs and look at the lyrics on a piece of paper, it’s all about melody. It’s all about presentation. And a lot of bands are really great, but you can’t understand a word of what they say.
I’d like just to be remembered as a guy that came along and did his music, did his best and showed up on time, clean and ready to do the job, wrote a few songs, and had a hell of a time.
Sometimes I don’t go into the studio for quite a while because I haven’t found enough good songs. They have to have a certain caliber and connect with me because I’m going to be playing them for the rest of my life. I start off with a circle of friends whose songs I love anyway.
I grew up in the entertainment industry, and I think being around that gave me a different perspective on people and what’s real and what’s fake. I think about that a lot, and it comes out in my songs.
The Bowery was a place that would let us do original songs – not just covers – but we would have to work for tips, so we learned how to work an audience. In order to keep our jobs, we had to keep people happy, so that meant playing the latest Lynyrd Skynyrd and ZZ Top or Merle Haggard.
Love songs are the most complex to write because everyone knows about it.
I don’t play the traditional Charlie Parker songs. But I do improvise and I do create with my instrument, and that to me is jazz. But there are people who use the word ‘jazz’ only in a traditional sense, and they would be offended by that, and that’s fine.
My songs are like my children – I expect them to support me when I’m old.
You know, Tupac would go into the studio and make like six or seven songs in one day. That’s how he operated. He was real quick with his pen.
It’s challenging to open for someone: You’ve got to prep the audience, get them in the mood, and get their attention if they don’t know you. You’re going to show them what songs you’ve got. You’ve got to leave your mark.
I write most of my songs when I’m in a bad mood.
I say, ‘Yeah, Taylor Swift.’ I think she is a smart, beautiful girl. I think she’s making all the right moves. She’s got a good head on her shoulders. She’s surrounded with wonderful people. Her songs are great. She keeps herself anchored. She knows who she is, and she’s living and standing by that.
If I knew where the good songs came from, I’d go there more often.
I love grooves and dance music, but I like the feeling behind songs too.
I love to play guitar. I’ve been writing my own songs on the axe since I was nine years old. I suck at leads.
I sing songs that I have lived or I write them because I have lived them. I think the believability factor is key.
As a political weapon, it has helped me for 30 years defend the rights of American blacks and third-world people all over the world, to defend them with protest songs. To move the audience to make them conscious of what has been done to my people around the world.
Sometimes my songs wander off a bit and are not always coherent.
I guess all songs is folk songs. I never heard no horse sing ’em.
I’ve got songs that’ll make a gangster cry.
I was trying to make my name just Artist in the beginning, but it was weird at first, because I wasn’t an R&B singer or nothing. Not an R&B singer. I didn’t do no melodic songs, none of that yet.
I would never put my songs in a commercial.
When songs make me wanna throw up, it makes me ashamed to even be in the same genre as those songs.
I do disagree with the way videos of my songs have been made. ‘Afreen Afreen’ is a very powerful song; it did not require such a video. The emphasis should be on the song. Again, I have told my recording company, and in the future, they will screen the video only after my approval.
My vocal ability is very limited, but I’m fortunate in that I can write the songs around my vocal limitations.
All art is political. Yes. Even the stuff that sounds like bubble-gum songs. I think all art is, by nature, intended to motivate society for change, and the only reason change doesn’t happen is because within the target population, courage is lacking.
I’m a huge reggae fan. I want to go to Jamaica and make, like, Bob Marley ‘One Love’ positive songs. That’s what the world needs.
Any musical person who has never heard a Negro congregation under the spell of religious fervor sing these old songs has missed one of the most thrilling emotions which the human heart may experience.
I know what it’s like to have a broken heart. I know what it’s like to feel pain: When my songs don’t become hits, it breaks my heart. There are a million ways to break a heart. I can relate.
We look before and after, And pine for what is not; Our sincerest laughter With some pain is fraught; Our sweetest songs are those that tell of saddest thought.
Songs are all poetry, and they don’t make any sense.
I feel an acting stint would help me widen my reach as a singer. Being an actor would let me reach out to people who may not have heard my kind of songs.
My writing was very much like my diary, and I just put it out there to put it out there because I didn’t really know what I was doing. The fact that people related to the songs made me feel less alone in a lot of situations.
The things in my songs are the edited highlights of my life. I don’t go seeking out strange sexual experiences every day of the week.
I’m not just a voice who wants to sing on anything. I co-produce, I want to select who comes in and plays on what songs, who to duet with and all of it.
I don’t really need to stand out, there’s room for everyone. Although I haven’t built a niche yet, I’m just writing love songs.
Sometimes I’m sad and mostly I like sad songs.
Courage: Great Russian word, fit for the songs of our children’s children, pure on their tongues, and free.
I grew up in the era of the concept album. What I do now is pick up on singles, and they are their own complete stories; you don’t necessarily have to hear the rest of the album because I don’t think albums are created like that anymore. They get songs from all over the place.
Even when I don’t think I’m writing, I’m writing. There’s some part of my brain geared toward making songs up, and I know it’s collecting things and I know when I get a moment to be by myself, that’s when they come out.
It is true I’ve written songs for other performers; I’ve worked with Tricky, Tears for Fears, A1, HearSay among others.
The best pop music is the songs that a group of people can dance to, but you can also listen to in your bed and cry. That’s something obviously that The Beatles started and… so having that darkness there opens another door.
I wouldn’t just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.
I decided at 15 that I didn’t want to be one of those artists that gets up and sings love songs they don’t mean. I decided that I was going to be me to the fullest extent, that my songs were going to reflect relationships I’ve had, things I’ve been through, and even the stuff I’m embarrassed about.
My songs are the door to every dream I’ve ever had and every success I’ve ever achieved.
I still have my first paycheck. It was just, I think, a dollar or two that I got when I started as a songwriter with BMI, and I had some songs there that I had through the company, and in the mail I got this big old check for, like, a dollar and a half or something. Somebody had recorded one of my songs.
I can say that on the record ‘Transit of Venus,’ there’s maybe one or two songs that actually do come from my heart, but a lot of songs have been written just for radio and for fans, you know, to relate to.
My favorite Bob Dylan record is the very first one where he sings one Bob Dylan song and the rest of them are his interpretations of the Dust Bowl-era folk songs, or even going back as far as the mass influx of people coming into the U.S. during the gold rush. His interpretations of those songs are incredible.
Widespread Panic discovered a couple of my songs and started doin’ ’em on the gigs. They’d take a song and expand it and everybody plays a long time and people really like that. But I made my living as a songwriter so I try to get to singin’ and get it over with.
As long as the songs are strong, I think you can express yourself in any style and have it be soulful and have it be your own voice.
I’ve always had this thing about it not really mattering where you’re from, because there’s always been this big cloud over America saying you have to live in L.A. or you have to live in New York to make it. I always knew it didn’t matter as long as you had the songs.
I don’t play an instrument – I just write in my head, and I usually hear fully formed songs. ‘We Are Young’ turned out so much like it was in my head. But it also exceeded all my expectations.
I can go from doing an electronic track to hip-hop to even folk songs. I think people like that variety in me.
Music is in me. I don’t have much of a choice. People might listen to one of my songs or come and see my because of my famous last name, but if my music’s not good they won’t hang around.
When I was writing the Destiny’s Child songs, it was a big thing to be that young and taking control. And the label at the time didn’t know that we were going to be that successful, so they gave us all control. And I got used to it.
I stay way from that area, and there’s only so many songs you can write about love, sex and death.
I’m singing these songs to inspire you, to keep you going, to lift you up and give you a reason to get up in the morning.
I’d rather let the song live and, as I get older, I’m less absorbed with the clothing. The older I get, I just wanna write good songs.
I have been whistling songs from childhood. I suppose it compensated for a lack of singing voice and satisfied my musical appetite.
‘Alligator’ was the first record that anyone paid attention to, and it seemed like it was the screamy songs that got us that attention.
My aspirations aren’t to sell millions of records, but to write really good songs.
Fill the earth with your songs of gratitude.
I think remixes give songs more life.
There is nothing in the world of art like the songs mother used to sing.
Attempting to write vocal oriented songs to me felt like going through the motions and if you are going to go through the motions you might as well just do any gig that caused you to do repetitive motions like banging a hammer or serving fries.
I’m in a difficult position in the sense that, preposterous as this might sound, I don’t like being the centre of attention. I get up on stage every night and play songs, but I almost feel the songs are the centre of attention. I don’t like opening my birthday presents in front of people, either.
I don’t want to be famous or recognizable. I don’t want to be critiqued about the way that I look on the Internet… I’ve been writing pop songs for pop stars for a couple years and see what their lives are like, and that’s just not something I want.
I’ve got the luxury to tailor make the songs so I can sing them.
I’ve done a couple of songs which are not up to the mark. So, mentally, I’ve set a goal that I should be more dynamic and try and push myself as much as I can.
Lynyrd Skynyrd has always been about writing songs and talking to people through them. That’s what we do, and that’s what we’ll keep doing for as long as we can.
Whether I do an original film, a dance, or a remake of my dad’s hit songs, I have always been compared to him.
The demand in India is to have a hit, which becomes a promotion for the movie and makes people come to the theater. You have five songs and different promotions based on those. But when I do Western films, the need for originality is greater. Then I become very conscious about the writing.
I don’t really like to talk about what my songs are about.
I can remember when I was just, like, about four years old in Compton, and my mother would have me stack 45s, stack about ten of them, and when one would finish, the next record would drop. It was like I was DJ’ing for the house, picking out certain songs and so this song would go after that song.
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.
When I’m writing songs, I write visually. When I’m writing the words down and I listen to the melody and the lyrics, I start seeing the video form. And if I can get through a song and from the beginning to the end have the whole video in my mind, I think that’s a great song.
People want to listen to a message, word from Jah. This could be passed through me or anybody. I am not a leader. Messenger. The words of the songs, not the person, is what attracts people.
I know people who have written big hit country songs that are really kind of terrible songs, but for the rest of their life, they’re the guy who wrote that. You’ve got to be careful; if you don’t want that to happen, don’t write those songs.
I have, like, a playlist with all my favourite songs on it. Sadie’s Playlist is the soundtrack of my life. ‘Wonderwall’ by Oasis, ‘Under The Bridge’ by Red Hot Chili Peppers, TLC, ‘Waterfalls’ – I love the ’90s.
I’m convinced there are a lot of couples who have got together while listening to my music. My songs are not exactly unsexy.
When I lost my first record deal, my wife and kids and I lost – I wouldn’t say friends, but – we lost a lot people around us. They just vanished! They were nowhere to be found. I couldn’t get a break, and I couldn’t get people to even respond to my emails about songs, no matter how good something was.
I think I’m most proud of my family right now. I’m more into that then I’ve ever been. It also gives a new area to draw from in creativity with my songs.
I think some people think I’m, like, anti-label, and I’m not. I just wanted to sign a deal when the time was right. I’m anti being shot out of a rocket when you’re not ready and the songs and image aren’t there.
Truth is, you make albums, and some of those songs are hits, and some of the greatest hits albums have songs that weren’t hits. You have a career, the reason why we’re still around 10 years is that we do have successful songs.
Folk songs express the dreams and prayers and hopes of the working people.
If some independent artists are using film as a medium to reach out to an audience, it should be promoted. Cinema is a popular medium and has a broad reach. There have been films with ghazals, classical and folk songs sung by local artists, which gave them popularity.
‘Victory’ is like, you won, so the question is, what? What did you win? I think that the songs go into that. It’s just about reaching a place in myself.
My music, my songs are 100 percent inspired by girl power.
I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs. Today, record companies are failing because they are putting their accent just on the young, and I think that’s rather silly.
I’m not the type of guy to go so deep with the concept songs, but there’s deep thought in everything. Maybe it’s not just a repetitive hook telling you what the song is about – you have to use your brain a little bit.
You choose to be happy, and in life we have as many good days as bad days. I try to find and record those songs that pull you through the bad days, and keep you believing that the good days are just around the corner.
I am not against songs in films. We come from an oral tradition of storytelling. I have grown up listening to epics in oral rendition and oral rendition always had music.
I started out in the folk music world only because of the way my songs were written and performed, with just an acoustic guitar, but I always related to the rock n’ roll lifestyle.
Real popular culture is folk art – coalminers’ songs and so forth.
Oh my God, if you’re talking terrible theme songs, you have to mention Matt Hardy. I can’t understand what they’re even saying. There’s a point in Matt Hardy’s song where it sounds like they say ‘I want to meet the cheese.’ I’m always like, ‘Meet the cheese?’ Just goofy stuff.
It’s certain rappers that can really rap, that really spit all bars, so I understand why someone would say, ‘You not a real rapper.’ But the main thing is, if you can make good songs, who cares? So I don’t know why guys be tripping on Drake. He makes great music. He’s dope.
I understand what songs like ‘Mr Brightside’ mean to people. They will last forever.
How You Like That’ has Blackpink’s own color and it’s more powerful than the previous songs. We tried to put in pop, rock and hip-hop aspects in it. Orchestral sound in the beginning is very impressive.
I love songs that tell stories. They make you feel something, something real.
It’s hard to be in the limelight and write songs that cater to fans that have expectations of you. We just want to write songs that we love, but all the different people with different ideas coming in make it difficult. We have to ask ourselves if we’re writing for the most important people: the fans.
The true treasure lies within. It is the underlying theme of the songs we sing, the shows we watch and the books we read. It is woven into the Psalms of the Bible, the ballads of the Beatles and practically every Bollywood film ever made. What is that treasure? Love. Love is the nature of the Divine.
There’s probably a couple someones that are gonna hear the songs and go, ‘I think that might have been about me,’ or, ‘I know it’s about me.’ I do play that pretty close to the vest. I don’t think I’m ever gonna write a song and drop somebody’s name in it.
Apple, iTunes, and streaming services have made the single a more easy thing to access. What that’s done has made the album as a collection of songs almost meaningless. But an album that has a concept or story or reason to be an album, if anything, has more meaning now than it ever has.
Our sweetest songs are those that tell of saddest thought.
I sing the songs that people need to hear.
My songs always sound a lot better in person than they do on the record.
Even on tour, where I perform songs from ‘City Of Black And White,’ I still do songs from ‘Nothing Left To Lose.’ I never turned my back on that material. On some albums, you change – that’s all. The trick is to follow your heart and do what feels right.
I love writing songs. I love doing my radio show and talking to the fans and listening to what they have to say, but there’s a certain responsibility that comes along with being given the gift of music. I take that seriously, but at the same time I try to use it to do something that makes a difference in a positive way.
I must be careful not to get trapped in the past. That’s why I tend to forget my songs.
I’m not afraid to write my feelings in songs.
Not every song of Lynyrd Skynyrd’s was a single, but songs like ‘Tuesday’s Gone’ and ‘The Ballad of Curtis Loew’ and ‘Made in the Shade,’ ‘I Need You,’ people learned those songs from the radio because radio played albums, not just singles.
Some of their best songs don’t have bridges and choruses. So that made me think I should trust my instincts. My songs were okay, I figured. I didn’t need to change anything.
This is my home. Home is where the disease is. As long as I stay in America, I’ll never run out of subjects for songs.
But me writing sad songs doesn’t mean I am a sad person.
I wasn’t personally that familiar with the Classic Rock bands. That is where Jorn Viggo came in: he played me tons of that stuff – Deep Purple, Led Zeppelin, plus a lot of bands with cool songs, riffs, vocals, etc. We really listened to tons of music.
Since I was doing all of it myself, I had to decide where I wanted to go with the songs, how to proceed with the chords, if the sound was alright, and all that detail on my own.
In my older songs, I used to hide behind fictional characters to deflect attention away from myself.
I don’t compose songs to showcase my proficiency in music or to please hard-core music lovers. The basic criterion is that my work should reach all sections of music lovers.
My mother made me listen to Carnatic music saying that only then I will be able to appreciate any good music. But what this has also done for me is that I’m unable to accept modern-day cinema songs.
Prince used to call me up 3am in the morning and invite me to hear some of his new songs.
There are so many songs that I could not sing the way I wanted to. When such songs come on television or radio, I shut them off or leave the room.
I’ve written songs sober and I’ve written songs high.
There are so many songs in my heart and in my brain. I wake up at 2 in the morning, and I have to get up and sing them. There are so many of them, it’s ridiculous.
I got more songs with Gunna than anybody – that’s like the only person who I’m around!
To me, country music’s about life. It’s about Monday through Friday. It’s the blue-collar, 40-hour week, songs about life. It used to have more of a sound, but I think the heart of that’s still the same. It’s still American music.
I hardly ever listen to any of our old stuff now. Once the songs have been recorded and put on to vinyl they become someone else’s entertainment, not mine.
The Marathi film ‘Natrang’ has amazing songs. I also like and have sufi and folk music.
‘Blueprint 3’ is made up of songs, but it’s also a commentary on the idea that in order for rap to survive, we have to stretch out the drama. We have to stretch out the audience. It can’t be this narrow – we have to stretch out the point of view.
We make our own music, and the songs appeal to the public well, and the public likes them.
I don’t write songs about a specific, elusive thing. I write about love, and everyone knows what it is like to have your heart broken.
‘Hallelujah’ is going to be a standard that our grandkids, our great-great grandkids will learn to sing in church. It’s one of those really, really special songs.
Songs are about just being totally honest and putting those words to music.
The word matters in country music, and it always has. And everybody had lived those words in country songs.
Personal songs take a little more to record, definitely. We had to bring our souls into the recording studio. It was us being very vulnerable. We heard that our fans can kind of feel that.
I had no interest in music. But now, music means everything to me. I have no words to explain how beautiful music is. It is where you can create everything, like beautiful songs to sad songs to almost anything.
If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.
It is the best of all trades, to make songs, and the second best to sing them.
When I’m writing, I’m constantly thinking about myself, because it’s the only experience I have to draw on. And I don’t see an exact reflection of myself in every face in the audience, but I know that my songs have validity to them, and that’s why the fans are there.
If there’s not drama and negativity in my life, all my songs will be really wack and boring or something.
We just made music that we liked and that people liked in Korea, and then people outside of Korea began to like it – in the same way that we hear pop songs from outside of Korea and enjoy them too.
‘Drip or Drown 2’ is more me, more songs. I enhanced it more, even with the cover itself.
I’m trying to create a collection of stories – the ‘U.F.O.W.A.V.E.’ songs are all stories. I haven’t really taken direct lyrical influence from other songwriters, but my dad bought me a book of W.H. Auden’s poems when I was younger, and the imagery really interested me.
Punjabi songs and Babu Mann tops my playlist. I also listen to a lot of English music although I don’t understand a single word. If the music is good, I am fine.
My head is full of songs I’m writing now, and things I am thinking now. I’m not very good at drawing on things that have happened, things I think might happen, or things I want to happen. I’m very much in right now.
I have some tracks and songs written for future collaboration, and I’m happy to work with artists who have the right voice and taste.
I do write a lot of children’s songs, and I’m going to do a children’s television show, which also means I’ll be doing a lot of albums. So I do hope my future will hold a lot of things for children.
I compose my own stuff. I’ve been writing songs with words. I’ve been playing more on the keyboard because I can transpose it to sheet music on the computer.
My sense of proprietorship has been so weak that actually I didn’t pay attention and I lost the copyrights on a lot of the songs.
It’s fun to sing sad songs. And it’s fun to listen to sad songs. Enjoyable. Satisfying. Something.
It’s funny because if you ever ask anyone in England to try and do a Beatles accent, no one knows what they really sound like. If you ask anyone in America, they would try and give it a go. English people just know their songs.
As yet, the Negroes themselves do not fully appreciate these old slave songs.
All my songs encapsulate a particular emotion.
I really get inspired by songs. Like, if I hear a thug ‘Want to kill ya’ song, I’m ready to go out and get crazy. Or if you hear this really sexual, sensual slow song, I want to go have sex. I’m very animalistic when it comes to stuff like that. Very basic emotions.
To passively get up and play a bunch of old songs wouldn’t have really motivated us. So we are bringing the new material into the set and it goes down really well.
Sometimes I just think that there are more things to be said to make the audience understand what I’m trying to do more. When I’m singing, I don’t want you to just hear the melody. I want you to relive the story, because most of the songs have pretty good storytelling.
So much of grandeur and richness in songs unnerve me.
I’ve got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that’s the song that nobody talks about. It’s weird.
Some songs are just like tattoos for your brain… you hear them and they’re affixed to you.
Malaysian Tamil movies are amateurish, with songs picked up from our old Tamil movies and inserted in between.
The juices never stop flowing. I still write songs.
I feel like everybody’s life literally has a soundtrack because we love music so much, and there are so many songs that people love.
Most of the songs I sing, they have that blue feeling to it. They have that sorry feeling. And I don’t know what I’m sorry about.
There are only couple songs that you can just hear and it’ll put you in a great mood.
I definitely believe that there are songs that, as artists, we don’t know the full potential.
When I was younger, and Iron Maiden and Def Leppard and all that stuff was coming out, I was learning all those songs and trying to play guitar and develop my chops. I was a big fan.
I don’t think of my songs as sad songs. I think of them as vulnerable and honest. I crack jokes in between songs, so people don’t leave feeling too dark.
My mother’s records were formative for me, but when I became a teenager, I wanted to find songs that she wasn’t hip to. She was so hip, though, that I had to go outside rock n’ roll – so for about 10 years, I only listened to hip-hop, house and techno.
With our first record, we wrote concept songs but not a concept record.
I want to thank Bollywood for accepting me and loving me the way I am and my songs. Bollywood has given me the reach.
As society changes, as politics change, as people change, certain songs still seem to resonate.
I lived next to Russian soldiers. We had Russian army guys in our house when I grew up. We made lemonade for them; they were everywhere. I had a Russian school. I grew up with Russian traditions, I know Russian songs… it infiltrates me a lot. I even speak a little Russian.
I may like the Blizzard best, of all the songs I have written.
I was sick of waiting for people to jump on hooks for songs I produced. So I tried singing myself, and I haven’t looked back.
For more and more of us, home has really less to do with a piece of soil than, you could say, with a piece of soul. If somebody suddenly asks me, ‘Where’s your home?’ I think about my sweetheart or my closest friends or the songs that travel with me wherever I happen to be.
If you look at my last songs and first short stories, there is a real connection between them.
Me and Kurt Cobain were both listening to a bunch of Lead Belly and diggin’ it. We thought, ‘Let’s do an EP of all Lead Belly songs.’ We did a couple, and both of us were like, ‘Nah, this is a bad concept.’ We set it aside.
My favorite songs to sing have always been songs about regret. I don’t know why that is, but to me, that’s country music.
I think there are things in my story that have helped my creativity. Your father being killed, for instance, is one of the best things that could happen to a kid if he’s going to write poetry or songs.
For me, singing sad songs often has a way of healing a situation. It gets the hurt out in the open into the light, out of the darkness.
I sure love to write songs, but I’m not so sure of my voice.
As an adolescent, I was painfully shy, withdrawn. I didn’t really have the nerve to sing my songs on stage, and nobody else was doing them. I decided to do them in disguise so that I didn’t have to actually go through the humiliation of going on stage and being myself.
One of my most popular songs, ‘Satellites,’ I paid $300 for that beat on SoundClick.
When I’m not in the booth, I’m one of the most laid-back guys. But growing up, I liked DMX, Jay-Z, 50 Cent, and T.I. – dudes that went all out on the track. My first songs were energetic because I liked their energy.
If I did a show and didn’t do Hootie songs, I would be ripping people off.
I’m So Sorry’ is probably one of my favorite songs that I’ve written… I wrote it very quickly and confidently. And then I didn’t question it.
A few minutes ago every tree was excited, bowing to the roaring storm, waving, swirling, tossing their branches in glorious enthusiasm like worship. But though to the outer ear these trees are now silent, their songs never cease.
Once the subject matter of rock n’ roll changed from cars and pop love songs to songs about really true love and the blues and death and mortality, this light bulb went off in my head and I went, ‘Oh, that’s what they’re doing. That’s kind of – that’s art.’
All my songs are where I am.
There has been a great laziness in my soul. Lots of days I could write songs, but I could also take my $400 and play the slot machines at the riverfront casino.
DJing is my only peace of mind. When the phone is off, I play my favourite songs really loud for myself, and I’m not talking to anyone; I’m not managing anything. It’s just, like, a time when I can listen to music.
When I was 5, I started taking singing lessons, and then, after ‘School of Rock,’ I started taking guitar lessons. I would always write songs and play them for my friends, and I would play my guitar on the set a lot.
Sometimes, entire songs are ready in just about five minutes.
There are more love songs than anything else. If songs could make you do something we’d all love one another.
I knew the words to 25 rock songs, so I got in the group. Long Tall Sally and Tutti-Frutti, that got me in. That was my audition.
I cannot tell you how lucky I am: the songs that I sing, I like!
Girls are losing their virginity at 15, 16. I’m not promoting that. But my songs are talking… about me becoming a man.
Five or six songs leaked from the original version of ‘Encore.’ So I had to go in and make new songs to replace them.
I downloaded ProTools – legally, of course… and I wanted to impress girls by making remixes of songs.
There have been times I’ve planted stuff in songs where four years later I’ll be singing it from a subconscious, kind of chameleon little lizard mind… and at a certain moment, all of a sudden, I’ll hear a line from a different vantage point and it’ll change its meaning. It’s something I wrote but it changed because I did.
Some people can only freestyle, some people can only make certain types of songs. I can do it all.
Everyone is trying to make these huge songs; I just make things that I want to listen to. Music that I will be comfortable listening to 10 years from now, that’s my only thing.
I tend to name albums after one of the songs.
My songs are basically my diaries. Some of my best songwriting has come out of time when I’ve been going through a personal nightmare.
I’ll have to get people to write songs for me right now until my own writing comes around.
I am glad to see the people grooving to and loving the Punjabi tunes. I also personally feel that Punjabi songs have a different vibe and energy, which helps in lifting one’s mood completely.
I have always wanted to learn the piano, but because I travel so much, I can never get any consistency of lessons. So everywhere I go, if I can find a piano, even if it is in the lobby of a hotel or something, I go on YouTube and pick some songs to learn.
When people come and see me, I want them to experience joy. I don’t do any sad songs in my show. It’s to lift the spirit.
Americans might not understand, but within Korea, Big Bang was one of the first artists to make their own production. We have our own interpretation of our own songs. We do our own thing.
You know, all my songs are relatives, brothers, sisters, cousins.
I love Benny Hill. He one of my favourites of aaall time. Like, the way Benny did it, he was just amazing. Just seeing how he put songs together and comedy and the timing and the sketches. He was way ahead of his time.
The most important thing for me is the thing I strive for. But I also hope when I play my songs for people – adult, children, mostly children – that they feel mighty, they feel noble, they feel like warriors. And they feel like they can do anything in the world because that’s how I feel.
I like to sing. I write music. Country songs. You have to if you’re in Nashville. It’s part of the lease. You sign a lease that says, I will write country songs and pay my rent on time.
I started singing and writing songs since childhood and later started releasing my independent music.
My best friend, who I grew up with in Paris, is Indian. So, I’ve grown up listening to a lot of Bollywood songs and watching a lot of Bollywood movies, old and new.
The one thing I do believe is, if you make the songs about the human aspects of things, you’ve got a much better chance of having the music transcend the times. If you make them very political and very topical, it’s going to date very quickly.
Music was my first love, and at Marlborough we put bands together and sang the pop songs of the day. Although I couldn’t read or write music – I still can’t – I taught myself to play the guitar and piano by listening to songs and working out the chords.
I don’t think writing open-ended lyrics is necessarily an important part of writing good pop songs.
I have a high range. Sometimes I sound like Stevie Winwood. Some people say I sound like Peter Gabriel. Some of the songs I write are funky. Others are slow. Some are ponderous, and some are there to shock. I must say some are pretty damn good, too.
When I wrote songs like ‘Everyone I Love is Dead,’ I never thought about how I was going to execute them live.
I really enjoy listening to Japanese pop aka J-Pop and I also like listening to anime songs as well. Both of these types of music are unique to Japanese culture and listening to these types of music gets me going.
Putting two songs together, I’ve always loved that trick when it works.
In Nashville, everybody just wants to write the best songs. So it’s a very inviting songwriting community.
There are a lot of songs that would ostensibly be a good candidate for parody, yet I can’t think of a clever enough idea.
When I go to see people, I always kind of hope they are going to play some kind of songs I know. So you’ve got to know your audience. It’s kind of something that is a blessing and a curse in a way. You’re obligated to play some of that stuff that people know, but I don’t think that’s all you have to do.
I think everyone mentions Bob Dylan, but he’s someone I just admire so much as a songwriter. I think people write songs, and then there’s Bob Dylan songs. He’s one step ahead of just everybody else.
I started out dabbling in rock and roll; then I did playback, and I have also sung for my own songs on screen.
Not many people know, but Pahari songs are amazing.
I think it’s a shame that ‘Woman in Chains’ wasn’t a hit at the time, although it’s become one of people’s favorite songs.
I don’t think of them as teenage songs. The things that happen to you in high school are the same things that happen your entire life. You can fall in love at 60; you can get rejected at 80.
We have the capacity to receive messages from the stars and the songs of the night winds.
The program director at a radio station, by the way, is not the superstar. If he was a superstar, he’d be out creating songs, but he’s not. But he wants to act like he has control and power.
My songs emerge from my life, or wherever they do, unbidden and unplanned and completely on a schedule of their own.
In high school, I was Mr. Choir Boy. I had solos, I was helping out the tenors with their parts and our choir teacher would ask me what songs we should do.
Even though other people wrote my songs I put my stamp on them. I have a connection, but there is no truer connection than an artists and their own song.
We managed to put together a compilation that had some creativity to it. In the meantime I was listening to the free radio stations and I noticed that during their war coverage they were playing these songs born out of the Vietnam War that were all critical of the soldiers.
I constantly tour every year, around the clock. That’s how I make my living, and I do very well. Because I have classic songs.
The great songs just come out. If it comes quick, just leave it that way.
I’m definitely gonna do another solo record at some point. ‘Flamingo’ wasn’t just me dipping my toes in the water. I really loved it. It was successful, and that helps, but I love those songs, and I miss singing them.
It’s not about being happy 100 percent all the time, cause that’s just life. I make sad songs, too, that really only make the happy songs better.
I don’t wanna get into that space where a lot of guys now, their solo album is like eight or 10 songs with other people, you don’t get an idea of who this guy is. I just wasn’t interested in that.
I’m singing these songs about death and stuff. I see somebody who’s, like, in their sixties or seventies at the show, and I’m like, ‘Yeah, sure. Fair enough.’
I love story songs because I’ve always loved books.
I live again the days and evenings of my long career. I dream at night of operas and concerts in which I have had my share of success. Now like the old Irish minstrel, I have hung up my harp because my songs are all sung.
All my songs are clean, and I am very careful about the lyrics, too.
With songs I almost see the images, see the action, and then all I have to do is describe it. It’s almost like watching a scene from a film, and that’s what I go about trying to catch in a song.
Singing was probably my first love, and song writing. I write a lot of love songs and heartbreaking songs.
Smiths songs certainly have an astonishing afterlife.
You can’t fake this music. You might be a great singer or a great musician but, in the need, that’s got nothing to do with it. It’s how you connect to the songs and to the history behind them.
Songs you can dip in and out of, but a book… well, it can overpower you.
Sometimes, I make 50 songs and pick out the best 10. I’ve been in the studio all day, all night, making the beat, writing the raps. You never know what’s gonna be a hit.
We toyed with the idea of making it a double album, but I think that would only have confused everybody even more, so we decided to stick with the songs we picked.
‘Evil men have no songs.’ How is it that the Russians have songs?
Gujarati is a very sweet language and I have always used elements from Gujarati songs in my music.
Blues are the songs of despair, but gospel songs are the songs of hope.
I’m always asked if the songs that I write are therapeutic, and my answer is a quick no. In fact, it could be argued that they exacerbate my neurosis.
I’ve been lucky. Massy songs like ‘Bambai se aaya mera dost’ from one of my earliest films and ‘Tu ne maari entry’ have been specially successful for me. I am blessed.
In their heyday, the Pet Shop Boys were the Interpol of the Eighties, dressing up to sing really weird pop songs about lust and loneliness in the big city. They’re low-pro now, not retro-worshipped in the manner of Depeche Mode, New Order, or The Cure, but you can hear the reason why – these guys are too sad.
Everything comes out in blues music: joy, pain, struggle. Blues is affirmation with absolute elegance. It’s about a man and a woman. So the pain and the struggle in the blues is that universal pain that comes from having your heart broken. Most blues songs are not about social statements.
I still love to do the old songs. I know some people don’t.
I think playback singing has a lot to do with voice acting. I would suggest to all the youngsters to understand the character, situation, and the story behind the songs. That is when you can add soul to the rendition which, I think, is missing in today’s music.
Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.
People were talking about songs of the common man in order to make the common man. With Woody Guthrie and Lead Belly, they were so common it was just uncommon.
I’m now comfortable playing a lot of the old songs, and I’ve gotten out a lot of the old equipment.
Everything I record, I just try to sound like me and come up with songs that suit what I do, and then just go for it.
I think sometimes all you need is to hear someone else say the same thing that you’re going through to realize that you’re not alone. I try to put some sense of hope into the songs, into whatever the situation is so that it’s not just dirt, drudgery and a life of misery.
Rap for me is like making movies, telling stories, and getting the emotions of the songs through in just as deep a way.
Well, as a songwriter, it’s really dangerous to use the word love in a song. It’s a word that has been used in songs so many millions of times before, and it’s the most popular topic to ever write about.
I think that people respond to honesty in music, so I only choose songs that are the truth for me.
I’ve never been one for keeping a journal, so my songs were my journals. They allowed me to express my feelings and let people know what was going on with me. I knew that somebody would relate.
The wonderful thing about having your songs on the radio is that people are going to go out to your concerts and buy your merchandise and that sort of thing, and it feels good to get that level of name recognition.
Heartbreak can definitely give you a deeper sensibility for writing songs. I drew on a lot of heartbreak when I was writing my first album, I didn’t mean to but I just did.
We’ve been called the soundtrack of people’s lives. There have been lots of downs, of course but mostly ups. That EW&F is still clicking at least twenty years on and has a life of its own, that the songs have stayed alive – we’re like a good book that people go back to.
Many of my fans often tell me that they listen to my songs to get through things. And therefore, obviously, I hope that they can picture being in a place where things are better… I hope my songs can bring people to a calm place.
Just like any songwriter, the songs come out of where I am in my life and what I’m doing and who I’m hanging out with and the kind of sounds I’m imagining. I always loved the idea of it evolving in the same way that life changes.
Some of my songs are turnt up, but that’s just ’cause I have to make ’em like that so the clubs can play them.
I was writing songs from when I was 12. My songs always came from questions that I need answers for.
I am the Crystal Palace DJ. I’m the guy who gets us going. I play the songs.
The male gay community seems to be very into female singers. I think it could be the songs we sing. They’re more open with their feelings. And they have good taste!
My songs are a direct route into my brain and my heart.
I doubt I’ll be singing forever, because at some point people aren’t going to want to hear my music, and I hope that I’ll still get the opportunity to write songs.
My first band was called Nubert Circus, a very embarrassing, dumb name. It means nothing. We were kind of grunge. I would say we were more funny punk, a lot of songs about food and stuff like that.
Anxiety and spiritual searching have been consistent themes with me, and that figures into my worldview. But I tend to make my songs sound like relationship songs.
I write songs about real things… The subject dictates the mood and it goes from there, really.
We’re in the same company as 2NE1 and we get our songs from the same producers, so the influence is natural. Since they’ve done a lot of things before us, we want to emulate them. But at the same time, we hope there will soon be an opportunity to show our own unique color. We want to succeed with our own unique color.
And when I’ve been away from my family and friends, I have felt good hearing some of those old songs.
I just want to leave this world with a massive catalog of songs.
I think Bob Dylan showed us that songs can rise to the level of literature, and he proved it over and over again. That’s why they keep trying to get him a Nobel Prize for literature: because there is no Nobel Prize for songwriting.
John Lennon was a musical genius. All I have to do is think of some of his songs and even the titles make me feel good… and I’m not the only one. His music has crossed cultures and even generations.
Songs won’t save the planet, but neither will books or speeches.
People take songs so literally.
I used to feel that if I wasn’t living out my songs, I wasn’t doing myself or my craft justice, and that’s a dangerous way to live because then you become what you make.
I always have a guitar or ukulele in the trailer, and I write songs. That keeps me in an artistic mind-set.
Songs for me are like a message in a bottle. You send them out to the world, and maybe the person who you feel that way about will hear about it someday.
I borrowed a guitar at age 16 and taught myself to play because I wanted to write songs.
I let my partners and my DJ listen to my songs and if they say, ‘Oh yeah I felt that one’ or ‘I am feeling that’ then I write it down and we just continue building the album from there.
I remember hanging out at Starbucks. There were these older guys who would sit around and play Crosby, Stills & Nash songs. I was just so in love with music. I would just go hang out with them, and I would try to sing and harmonize with them. I didn’t even know the songs.
The act of song writing and recording became one and the same to me; because I essentially recorded everything I did from the day I began trying to write songs. I’ve always had a lot to say. I’d always written poems.
I got to realizing that I wanted to record, I wanted to experiment. And doing those same old songs the same old way – I said, ‘I think it’s time for me to have some fun.’
The thing that makes me different from any other rapper is that I usually talk real crazy in my songs.
I am permanently a student of people who make great songs, but besides sort of learning by absorption, I just love listening to music, hearing what’s going on, hearing new things or new old things.
Westminster politics is very unattractive, and people are channelling political energy into more inward questioning – there are a lot of musicians whose songs are all about feeling, and it’s almost like that’s the only safe place to express yourself.
My biggest influence growing up was Avicii, who put me onto creating the sorts of melodies that feature throughout my songs today.
I love songs that have a rocking and grooving feeling.
The songs are about things that we were thinking and we wrote ’em down, and when you listen to ’em, whatever you think it’s about… THAT’S what it’s about!
I’ve been lucky enough to have fulfilled so many ambitions, and gone way past anything I ever thought I would do. I could never have imagined the career that I’ve had with the Foo Fighters – playing stadiums and having songs on the radio. It’s amazing, and my goal is really just to carry on playing.
I was drawn to love songs, but I was just drawn to great music – no matter if it’s hip-hop, pop, R&B or whether it’s rock n’ roll or country. It could be a Garth Brooks song, and if it’s a smash, then I’ll love the different wordplay and different melodies. That’s what I’m a fan of – great music.
I’m not claiming divinity. I’ve never claimed purity of soul. I’ve never claimed to have the answers to life. I only put out songs and answer questions as honestly as I can… But I still believe in peace, love and understanding.
Mooo!’ was one of those songs where I was like thank God people like it because I like it, too. When I made it I was having fun so I can only pull positive emotions from that memory.
Most of the songs I sing have that blues feeling in it. They have that sorry feeling. And I don’t know what I’m sorry about. I don’t.
I got songs about being broke, being on welfare, being poor, Section 8.
I started as a songwriter and wanted to be like Leonard Cohen. I’ve always seen my stories as enlarged songs.
That’s where it begins and ends for me and these songs were the ones that touched me the deepest. It was like I was laying hold of some part of me that I didn’t even know was there until I let it out.
I do want people to know that the songs that I wrote when I was with women were really about women. And the songs that I’ve written since have been fairly obvious about men.
It’s not enough to play the old songs; that feels like being your own covers band or something. It’s a big release to do new stuff.
This is the most fun thing in the world to me, making music. Sitting down, I can make songs and not leave the booth, ever, and I love it.
I don’t really have the voice for love songs, do I?
‘Threatz’ was when I stepped into my own as an individual and one of the first songs we put on SoundCloud.
In my songs there are no bad words, so kids can sing them, and girls can identify with singing with them, too, because it’s not like a man singing reggaeton.
My songs form a kind of biography or diary of my life as they are about people I have loved and people I only knew in my heart, places I have seen only for a moment and places I have lived all my life.
I always like story songs, Dolly Parton, Tom T. Hall, Mel Tillis, Red Stegall, when they’d do their story songs. I was totally enthralled.
I’m like a bad musical cliche because I bring my guitar on the road and try to write songs in hotel rooms.
I love Robyn. ‘Dancing on My Own’ is one of my favourite songs.
I know I’m stronger in the songs than I really am. Sometimes I need to hear it myself. We all need to hear those empowering songs to remind us.
Producing all my own songs and refusing to go to the hot producer. That’s the biggest risk I’ve taken so far.
The first set of lyrics for the first songs I ever wrote, which are the ones on ‘Pretty Hate Machine,’ came from private journal entries that I realized I was writing in lyric form.
A lot of my songs are about things that concern me personally, not a heightened version of myself or any of the characters that I play.
I think all songs should have weather in them. Names of towns and streets, and they should have a couple of sailors. I think those are just song prerequisites.
I wanted to try to write songs on the piano to get a different flavor.
Music was never just a hobby for me. I’d pick up a guitar every day to work on whatever I was writing at the time. I would put my ideas in songs the way some people might put them in diaries or journals.
I started to write my songs when I was 15 and living in the Congo.
A lot of the songs I’ve recorded are songs I write.
I’m not focused on radio or whether I’m going to get all the audiences… all I wanted were great songs that were universal to any listener – Black, White, Green, Yellow; any kind a age difference.
I played with Prince in 2010… the America tour. The one with Misty Copeland dancing on top of the piano! But Prince played the piano on that song. But I played two dates with him on that tour. When we played the gig, every couple of songs, Prince would change his clothes.
The ‘Maybe Memories’ album I remember having and listening until it broke. I remember it skipped one day; two or three songs wouldn’t play on my CD player because I listened to it so much.
The main issue was deciding what to play: Should it be old Ramones material or new material? I had about three albums worth of new material, but I knew that people would rather hear the Ramones songs.
Songs I do have to strike an emotional chord the first time I sing them.
A lot of my heartbreak songs are inspired by things my sisters are going through, or friends.
Every time we get days off, we try to go home and record five or six songs.
I understand it’s my role to realize people’s dreams. I’m O.K. with that so long as my songs are my own. No one can take my songs away from me.
My first songs were energetic because I liked their energy. When I used to battle people every day, I had to go hard. If someone went harder than me, they left with the win. I haven’t lost since I was 12 years old.
You can’t understand the words of Cocteau Twins songs, but their harmonies put you in a dreamlike state.
I try to make the songs as good as I can – the way I like it, you know? And I guess my taste sometimes happens to be what other people, particularly radio programmers, like too.
I think a lot of people think that my parents’ deaths is why I write such sad songs, but that’s not true. Those songs may just be the woman I am.
In their plush melodies and plummy platitudes, many Rodgers-and-Hammerstein songs were secular hymns, which so insinuated themselves into the ear of the Eisenhower-era listener that they became the liturgical music for the American mid-century.
It’s really a sad story, and I liked that. The songs on this album talk about relationships in every aspect.
I don’t hate myself anymore. I used to hate my work, hated that sexy image, hated those pictures of me onstage, hated that big raunchy person. Onstage, I’m acting the whole time I’m there. As soon as I get out of those songs, I’m Tina again.
I think when we were starting out, it was more about imitating our songwriting heroes. We would try to write songs like Neil Finn, or we would try to write songs like Ray Davies, or we would try to write songs like Glenn Tilbrook.
I’m just going to sing my music; I’m going to write my songs, and I think that people get to know me in that sense.
I don’t want to be just that transgender performer or that transgender musical artist. I want to create songs and art and have those be judged on their merit alone.
For me, ‘Diamond Necklace’ is a commercial attempt, as it has songs and glamour.
We went through this business of me writing out all the parts for these old songs from Gravity and Speechless and we’d been performing that, but we don’t do that any more.
That’s one of the things I like best about folk music is the beautiful melodies – and the harmonies – that exist in it. And of course, some of the stories, the story songs.
The way we write our solo songs is that we take the emotions that we feel and put them in the lyrics. And we try to put them in the songs.
I make charts of songs that are good candidates, good targets, so to speak. Then I try to come up with ideas for parodies. And 99% of those ideas are horrible.
Downloading songs is not good.
Even when I was calling myself the Microphones I only really ever played new songs… because I feel, like, a pretty strong connection to the song when I’m performing it.
I’ve had a bit of a crazy life. So writing lyrics in songs is easy for me.
I don’t know if I could write songs if it wasn’t for the female race, to be honest with you.
The masses do not see the Sirens. They do not hear songs in the air. Blind, deaf, stooping, they pull at their oars in the hold of the earth. But the more select, the captains, harken to a Siren within them… and royally squander their lives with her.
When I release my music I will text Sharon Osborne and ask her about my songs.
Whether I’m telling stories in songs or if directing is the next step, being a storyteller is what I like doing.
I want to be like Bruce Springsteen or something, making songs that are relevant.
As long as I could sing my songs, I wasn’t as angry about what had happened, about being shoved back for this or shoved back for the other.
When the band first started, it was so much about carving out some space for myself and our audience and our songs.
There’s always a group of songs that I’m working at. Some of them are 10 years old, and some of them are just a few weeks old. I’m always trying to adjust these songs to some position where I can bring them to completion.
Human mind has way too many shades. It would be so boring if this world was all sugar and gloss, just happy, colourful lives. People singing songs is not always the reality. Just like happiness and love, people also feel wrath, jealousy and vengeance!
Songs really are like a form of time travel because they really have moved forward in a bubble. Everyone who’s connected with it, the studio’s gone, the musicians are gone, and the only thing that’s left is this recording which was only about a three-minute period maybe 70 years ago.
I wasn’t thinking of the longevity of any of my songs, but I am extremely pleased with the lasting effect.
I started out writing poems before I figured to put melodies to them and play the guitar. Somewhere, there’s a book out there on all those early songs and poems. I hope no one ever finds it. I don’t think it’s my finest work.
I love ‘Sunday in the Park with George.’ I saw that when I was just, just starting theater school, and I remember singing ‘Finishing the Hat’ or at least reading the lyrics to ‘Finishing the Hat’ and other songs from ‘Sunday in the Park with George’ to my mom to try to explain why I wanted to be an artist.
I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds – double bass and stuff.
I didn’t disappear; I started writing songs and worked behind the scenes.
I had girlfriends who really irritated me by their devotion to the Beatles. I didn’t begrudge them their interest, and there were songs like ‘Hey Jude’ that I could appreciate. But they didn’t seem to be essential to the kind of nourishment that I craved.
One of my favorite reggae songs is Wayne Wonder’s ‘No Letting Go.’ And Sizzla ‘Give Me A Try.’ That’s one of my favorite songs as well.
I always try to give my songs as gifts.
I’m not everybody’s cup of tea. But sometimes criticism can be hurtful. Be respectful. I’m a good piano player, I can sing well, I write good songs. If you don’t like it, fair enough. But give me a break.
When I wrote those first songs for the Truckers, songs like ‘Outfit’ and ‘Decoration Day,’ those were strong songs, very strong songs. But had I been in the position of writing an entire album at that point in time, I don’t think the whole album would have been of that kind of quality.
It’s not about battling the original artists when I record these songs, it’s about paying tribute to them.
Yoga introduced me to a style of meditation. The only meditation I would have done before would be in the writing of songs.
I was essentially trained by Oscar Hammerstein to think of songs as one-act plays, to move a song from point A to point B dramatically.
Some of the songs I do once in a while that I kinda… my set list is basically like my hits, there is a good reason why they are there; people really like them.
I am probably the only composer in South India who has delivered many superhit songs but was not considered a success.
I mostly play old period songs, as they suit a ukulele more. I bought it when I saw the tribute concert to George Harrison. Joe Brown came on and sang ‘I’ll See You In My Dreams,’ and there wasn’t a dry eye in the house.
No, we’ve been performing our old songs a little differently each performance.
I’m going to try to make happy songs or some political songs, like ‘A Country Boy Can Survive’ – something people can get excited about.
I’m actually the son of Mary Guibert. My mother was born in the Panama Canal zone and came to America when she was five with my grandmother and grandfather, and that was the family I knew. Everybody sang; everybody had songs all the time, and they loved music.
There are a lot of bad worship songs, in my opinion, but there are a lot of good ones, too.
The conservatory professors thought everything should sound like French and German symphonies. But to my ear, bouzouki songs, which tell the sufferings and heartaches of ordinary people, offered a way to make classical music available not just to the upper classes.
I think ‘Lovin’ Feelin’ was probably one of the most – probably in ’64 and ’65, one of the more dramatic love songs for these kids to grab hold of. I mean, they had been listening to, you know, kind of cute songs, and ‘Lovin’ Feelin’ was just a strong, powerful song.
And it really is a good feeling to get up there and make that sound. I’m not stuck in a time warp, because I can use as many of the old songs as I want to, just the favorites.
I’m a songwriter who’s put my childhood memories and teenage angst into songs.
Nowadays, people are re-making old songs and that’s good for us because the teenage audiences will get to know who the singer was and who is singing now.
When you have a reputation for making not only good songs but great albums, that in itself creates added artistic pressure. But, at the end of the day, I guess that pressure is something I welcome.
First you date the songs, and then you get engaged and then you marry them. They have to stand the test of time, because they are going to be yours for the next 20, 30, 40 years. So you had better choose right.
I’ve loved musical theater ever since I was a kid. My mother’s a pianist, and my grandfather was an amateur theater director and stand-up comic. And I was an only child. And I loved attention. So from an early age, my family was teaching old musical songs.
I think often sadness is a great place to get songs from.
At school, I was always daydreaming and fiddling in inkwells, but I had to learn to grow up and become articulate. And doing that was what brought me into writing songs. It’s like therapy for me, because it exposes what I’m really thinking.
Love songs are one of the great essences of life, the only thing that’s lasting.
A lot of rap songs don’t usually have a lot of melody per se.
Songs like ‘Outfit’ and ‘Decoration Day’ and ‘Dress Blues,’ those were good songs, but the output wasn’t as consistent in those days.
Don’t trust anyone that doesn’t like any Bowie songs.
I love songs but am inhibited to have my characters burst out to express themselves through songs. I use the route of using old songs at the right places.
I would love to have a rapper on one of my songs, like Ludacris, or the ‘it’s so hot in here’ guy, Nelly.
I made myself famous by writing ‘songs’ and lyrics about the beauty of the things I did and ugliness, too.
I give bird songs to those who dwell in cities and have never heard them, make rhythms for those who know only military marches or jazz, and paint colors for those who see none.
I think Bridge Over Troubled Water was a very good song. Artie sang it beautifully. The Boxer was a really nice record. But I don’t think I’ve written any great songs.
I would rather put out two year-defining songs a year than flood the market with eight or nine songs.
I was probably 7 years old when I started playing the guitar and writing some serious songs.
If you look over the years, the styles have changed – the clothes, the hair, the production, the approach to the songs. The icing to the cake has changed flavors. But if you really look at the cake itself, it’s really the same.
When I do uptempo songs, I like to bring in the funk and world music and different elements.
The creative part for me is making songs, and that’s what I really love the most, and that’s what I’ve always done for every band I’ve ever had.
I’m a bit of a magpie: whatever I see or hear or read feeds into the songs.
It’s always fun to play songs by somebody else.
I had just lost my dad and I remembered all the songs we used to go and hear at concerts, and the records around the house and sometimes we’d play together.
I can sit and analyze everything and beat myself up and say you don’t quite sing as good as you used to, you’re writing better songs maybe than you used to, but to me it’s just the journey.
My fans get passionate about certain songs.
Things like ‘mad as a hatter’ or ‘grinning like a Cheshire cat’, are so powerful that music and songs incorporate the imagery. Writers, artists, illustrators, a lot of them have incorporated that.
I sometimes think I should write a book. I’ve seen some things, you know, but it’s all there in the songs.
Most country songs, certainly all the stuff I’ve written, are stories driven by characters.
I grew up the biggest fan of the Cure. Knew every lyric, had every album, B-side, single, poster, everything. Then cut to fifteen years later, and we’re working on songs together. Ridiculous.
And I ask why am I black, they say I was born in sin, and shamed inequity. One of the main songs we used to sing in church makes me sick, ‘love wash me and I shall be whiter than snow.
Singing songs like ‘The Man I Love’ or ‘Porgy’ is no more work than sitting down and eating Chinese roast duck, and I love roast duck.
Sometimes you have trouble because someone ‘likes’ your music so much. They follow you around for hours singing little bits of the songs, or just freaking out.
You get royalties from certain songs that you do when you do background. It’s according to the work that you put in.
We didn’t rehearse or play the songs to death before we recorded them, and that let us catch a freshness and energy level we’ve never really felt while making records.
That’s why these songs have lasted as long as they have because they’re just about feelings that don’t change. They are love songs, they are not specific, those kinds of feelings don’t change.
We have to make sure the music and the message and the words and all the elements come through in our songs and every time we appear in public.
A lot of people don’t realise I came out of the Smoky Mountains with a load of songs.
As artists, we’re always going to like the songs we just now made over the songs we made a year ago.
I’ve done lots of songs for film soundtracks and things like that – stuff I’m not ashamed of, but that doesn’t represent my legacy with the Pretenders.
When we would go to all these different regions on tour, having people sing our songs in Korean is amazing. All these different parts of the world are giving us love, and we’re very grateful for that.
There’s something missing in the music industry today… and it’s music. Songs you hear don’t last, it’s just product fed to you by the industry.
I want to write songs and play them for people – live.
I’m just writing songs about how I feel or about how people I know feel.
With ‘Location’ and all the other songs around it, my music turned into therapy for others. And that’s something I really love and am blown away by.
I remember driving the tractor on our farm, and Tim McGraw would be on the radio. I’d find myself walking out of class, singing his songs. And then Tim ended up playing my father in ‘Friday Night Lights.’ It was surreal.
Well the country songs themselves are three-chord stories, ballads which are mostly sad. If you are already feeling sorry for yourself when you listen to them they will take you to an even sadder place.
We want to become a group that many people cheer for and trust without bias, no matter what kind of songs we sing, or what stage we stand on.
Nothing wrong about EDM. Great songs came out of it, but there was a period when everything had to have a pace of 128 bpm and be DJ-related.
All those people who go to NASCAR and sing country & western songs and live in Tennessee, they totally ignore me, they don’t come to my shows, I just don’t exist for them and they don’t exist for me.
My guitar heroes are Eric Clapton and Jeff Beck and people like that – so I’ve tried to make an album of Robert Johnson covers that, well, while not totally faithful for blues purists, is faithful for people like me that grew up with the ’60s and the electric blues-rock versions of Johnson’s songs.
I was so young when the Killers started. I was 21. I’m proud of those songs, but there’s no way I would write ‘Somebody Told Me,’ as I get older. Especially after having kids.
The most powerful love songs always turn on the discrepancy between the act of declaring love and the knowledge that the ostensible addressee is no longer there, was never there, and could never be there.
Today, I’d like to talk to Bob Marley. I’d just like to ask him what was his method. Bob is one of the greatest songwriters ever. I don’t know if people understand how powerful his songs are and the simplicity and genius behind them, from ‘Redemption Song’ to ‘Is This Love?’ and ‘I Shot the Sheriff.’
I don’t like guitar solos that are like, ‘Look at me, look at me!’ I like guitar solos that are little songs within the songs.
I may not be poetic but i’d love to write songs that convey my true feelings.
It’s funny because as a composer, you want to hear your songs live on. I think a lot of times people will create a song and it becomes stagnant or something that they’re no longer interested in playing, and they leave it alone.
Over the years, a lot of rappers – Lil’ Wayne, Ice Cube – have used my name in their songs. I’m a real touchstone of history.
I’d like to write some songs that are so good that nobody understands them. Not even myself.
It seems to me that those songs that have been any good, I have nothing much to do with the writing of them. The words have just crawled down my sleeve and come out on the page.
One of the reasons we survive as a band is that we are seen as a band of today. We don’t want to be seen as a band that tours and plays old songs. We feel that we are making the best music of our careers.
In argument similes are like songs in love; they describe much, but prove nothing.
Composers and lyricists are making songs that are approved by the producers and directors.
I continually blacken pages and scribble away, so I always have a number of songs that are half-finished.
Dream Theater music, there’s a lot of background and context to the songs, as far as the subject matter and the albums they come from.
My mom had a produce business in in Oxnard, and we used to take these long trips to talk to farmers and different distributors. She’d take us with her after picking us up from school, and she’d be blasting all this old soul music and R&B. I knew all those O’Jays songs before I knew Snoop or Dre or Tupac.
Like Juan Gabriel and Ana Gabriel, both singers and songwriters of legendary talent, Marco Antonio has reshaped a kind of Mexican romanticism. What he brings to pop music is the kind of songs that really talk to people’s hearts.
No matter how long you play rock n roll songs might change just as the balls are there, the rock balls. And that’s what’s important to us.
I remember breaking the news to both my parents that I wanted to be a director, and they both looked very doubtful. They didn’t know what a closet Hindi film buff I was. I used to dance to old Hindi films songs on the sly, so my decision to be a part of Hindi cinema was shocking even for my parents.
I’d probably be a super wealthy guy if I had sat around writing songs and getting them placed like everyone else I know. But I write songs about people or after I meet them and they’re somewhat biographical – they’re fiction but also non-fiction.
I could stand out front and sing Eagles songs that I sing in my set, but I think people enjoy watching me sing and play the drums. It seems to fascinate people. I don’t know why.
Sometimes, I write ’60s or ’80s style pop songs.
There’s some songs you can cover, and I’ve covered and butchered a few, but you can’t do them all.
On ‘Love Letters’, I focused exclusively on songs with lyrics, creating a collection of songs that directly address heartbreak and its ensuing emotions in a way that instrumental music can only hint at.
My dad has a lot of foresight and decided that I would not do any shows in Mumbai till I became a singer and got to sing my own songs. He knew that if I started earning money from shows, I would not have the time and aggression to rough it out to become a singer.
I can’t wait to front my band with these new songs and play for fans, but I’ve decided to keep my day job too.
So many good songs get written fast, because you know exactly what has to work.
You know, I’ve sung a lot of emotional songs in my life, but when you’re writing it yourself, it’s very difficult to decide what to reveal.
I found it easier to make up songs than to learn other people’s songs.
The saddest songs are written when a person is happy.
A lot of what I’ve done as Nine Inch Nails has been governed by fear. I was trying to keep the songs in a framework that was tough, and I learnt a lot from Jesus and Mary Chain about how to bury nice pop songs in unlistenable noise – the idea being if you can get behind that wall, you find there’s a pearl inside.
I like to oversee what I do, so I have a hand in writing my songs. I also have people there to help me with my vision.
Growing up, I was obsessed with Disney movies like ‘The Little Mermaid,’ ‘Aladdin’ and ‘Beauty And The Beast.’ I was always singing the songs from these movies, so to find myself in the studio with Alan Menken was an amazing experience. In fact, it was a dream come true.
I grew up among heroes who went down the pit, who played rugby, told stories, sang songs of war.
You just went right in and just recorded songs and listened them, and if there were any mistakes, then we would correct them and just went on… one take or two take.
The ‘Day Shift’ songs are things that would unfold during the daytime. ‘Night Shift’ is what would unfold during the nighttime. So, that’s how I put that whole thing together. I did both all on one album budget.
Creativity is not about making 30 songs in 30 days. It’s never about demand and supply. No one can possibly do that.
My favorite songs are the ones that really come from the heart.
There are no calculations in the records I make. I record as many songs as I can. Songs that I think are my best.
These songs are old friends I have entertained myself with when I’m washing the dishes, driving to the store and walking down the aisles. The ones that you sing when you’re driving in the car and as a singer you always go back to them.
Hindi film songs are the best of everything – whether it is lyrics, melody and talented singers.
Whenever I’m making songs, I am pretty much, quote unquote, freestyling them into existence.
The Beatles are great for everybody – they write the songs that made the whole world sing.
Songs don’t have to be about going out on Saturday night and having a good rink-up and driving home and crashing cars. A lot of what I’ve done is about alienation… about where you fit in society.
I’ve always been a big fan of taking old songs and completely turning them on their head. Having no adherence to the fine tradition of the original version. Rearranging them and taking a different approach to them.
Yes, I’ve been down the pike and back. And through the years, I’ve heard different songs with scatting in it, and it was – always cracked me up as kind of a funny style of music, you know? When I did it, it kind of cracked me up as a comedy kind of routine.
I always wanted to know, and I always used to daydream, about what it would be like to stand on a really big stage and sing songs for a lot of people, songs that I had written… Daydreaming was kind of my No. 1 thing when I was little, because I didn’t have much of a social life going on.
I love music and hopefully I’ll be able to do something with it – I just have to find time to get into the studio and record a few songs.
We weren’t the Temptations, but when we came out onstage, the people always gave us a special respect because our songs were of an inspirational quality.
I’ve been singing one kind of genre for a long time but have always tried to push to new auras about picking new songs or the same kind of genre but trying to sing it differently, treating it differently.
Often I listen to songs on repeat for days and days at a time. There’s something hypnotic or meditative, and it mirrors the way that I am putting the sentence together, going back over the same phrases again and again.
You can make a hit song in 15 minutes. I don’t know about someone else’s song, but songs that people like of mine, I’ve created in 15 minutes or less.
That little Miley Cyrus… she’s like a little Elvis. The kids love her because she’s Hannah Montana, but what people don’t realize about her is she is such a fantastic singer and songwriter. She writes songs like she’s 40 years old!