Song Quotes - Page 219

When I play live, it's a conversation that we're all having with the song, and the audience... their response and relationship with the songs is as valid as my relationship with the songs.

You really do kind of learn a lot about a person when you watch and listen to the songs that mean something to them.

I was sort of retired, you could say. During that process, I was recording here and there. I put out several songs expressing myself to the fans and letting them know of my whereabouts and what I was doing. I gave them insight into my situation. To my surprise, the fans have been very supporting and understanding.

Luckily for his audiences, Bennett doesn't tire of singing I Left My Heart. ... that song made me a world citizen. And when I do it, it always feels like the first time.

That song helped make me a world citizen. It allowed me to live, work and sing in any city on the globe. It changed my whole life.

I don't disrespect the audience. I only sing very well-written, intelligent songs.

Sad songs seem to work for me, but I don't want to be redundant; I want to add a little flavor.

I was just reading some poetry, and it talked about how things start as one thing and change into another, and I just thought, what a great concept for a song.

Your old home town's so far away, but inside your head there's a record that's playing, a song called 'Hold On

I think particularly in music, popularity os a very fickle thing. You're only as good as your last song.

I figure I wrote 37 songs in 20 years, and that's not exactly a full-time job. It wasn't that I was writing and writing and writing and quit.

Once you've heard the joke, it's not funny anymore, but it's the way it's told. And I think that's the same with the music: The reason some of my songs have lasted longer is there's a lot of stuff packed in there. You want to hear them more than once.

The real issues I don't think most people touch. The Clinton jokes are all about Monica Lewinsky and all that stuff and not about the important things, like the fact that he wouldn't ban landmines...I'm not tempted to write a song about George W. Bush. I couldn't figure out what sort of song I would write. That's the problem: I don't want to satirize George Bush and his puppeteers, I want to vaporize them. And that's not funny....OK, well, if I say that, I might get a shock laugh, but it's not really satire.

I'd love to be in Paul McCartney's shoes for a day. I'd love to pick up a guitar and write songs like he does. Or to experience what it might have been like to be a Beatle for a day.

Instead of the 1997 film directed, written, by James Cameron with Leonardo DiCaprio, Kate Winslet, Billy Zane creating a love story and a large diamond with a beautiful song “My Heart Will Go On” sung by Celine Dion. What about the real love story that took place that night between the passengers themselves, and many crew members knowing they would also give their lives. Adding another meaning for “SOS” Service, Obedience, and Sacrifice.

One Long Year was just a song here and there, and it was meant to reflect the mood that I was in but unfortunately it also reflected too little of any particular thing rather than hanging together as a whole album.

Writing is not work. In fact, theres nothing better. Writing is something that if the music business went completely away tomorrow - radio stations quit existing and music quit being popular and it was old hat - I would still write songs.

Greatest hits is easy because one has nothing to do - except that we both, Roger and I, felt that new songs should be there because I've been away for awhile.

The choice that I made was from my best music, for the songs that I knew that the public liked. Then, when I recorded my new songs I found that my old material had not faded, it was still current, the music was good and the songs were great. I sat in my house and listened, got the chills, and I thought, how great is that? It hasn't dated, it hasn't gone anywhere, and it's great.

Everybody loves a sad ballad because it's cathartic. For artists, in a lot of ways, that's sort of our therapy sessions is when you're singing a song.

It's fun to look backwards and be like, "Oh, this song never really worked live before but now it will sound cool with this lineup."

The act of the being in the band has very little in common with writing songs. The songs come out of it, and the band is necessary for the songs to emerge, but the band doesn't exist just so the songs can emerge.

There aren't that many songs that pay homage to the DJ. They are the ones getting artists' music out there. They are the ones getting the club popping. But no one's giving them any love.

As cheesy as it sounds, I feel like I do write a lot, not necessarily for a message to be taken away. I feel like it is a little bit egotistical to be like, "I hope they are a better person after listening to my song."

It is irrational to charge high prices for socially valuable innovations as this guarantees that they will be underutilized. It is much better to sell them at cost and then to reward the innovator in some other way. This is not always possible, because in some cases the value of an innovation is in the eye of the beholder; it's very difficult to value how much a new Madonna song is worth, for example. But in the case of medicines, green technologies and seeds in agriculture, such an alternative reward mechanism is fairly straightforward.