But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
God has prepared for Himself one great song of praise throughout eternity, and those who enter the community of God join in this song. It is the song that the 'morning stars sang together and all the sons of God shouted for joy' at the creation of the world. (Job 38:7). It is the victory song of the children of Israel after passing through the Red Sea, the Magnificat of Mary after the annunciation, the song of Paul and Silas in the night of prison, the song of the singers on the sea of glass after their rescue, the 'song of Moses the servant of God, and the song of the Lamb' (Rev. 15:3) It is the song of the heavenly fellowship.
The song that I will sing is an old song, so old that none knows who made it. It has been handed down through generations and was taught to me when I was but a little lad. It is now my own song. It belongs to me. This is a holy song (medicine-song), and great is its power. The song tells how, as I sing, I go through the air to a holy place where Yusun (The Supreme Being) will give me power to do wonderful things. I am surrounded by little clouds, and as I go through the air I change, becoming spirit only.
Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.
When I was a child, ladies and gentlemen, I was a dreamer. I read comic books and I was the hero of the comic book. I saw movies and I was the hero in the movie. So every dream I ever dreamed has come true a hundred times...I learned very early in life that: 'Without a song, the day would never end; without a song, a man ain't got a friend; without a song, the road would never bend - without a song.' So I keep singing a song. Goodnight. Thank you.
Each person who ever was or is or will be has a song. It isn't a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their song instead.
I want to make people feel things when they hear my music I want to give a song to someone who is going through a break up, I want to give a song to someone who loves someone and can't tell them. A song for someone who has just fallen in love and a song for just people who are living their lives.
Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.
If we were to use the success of 'Need You Now' as the barometer for every other song, then we'll probably be highly disappointed. That song will probably undoubtedly be the biggest song of our career. We can hopefully have success for 20 years, but we may not ever have the success of that one particular song again.
'The Last Five Years' is this quintessential piece, and every song is an actor's song, and every song is incredibly difficult and incredibly powerful and incredibly amazing. It was one of those things in college where, like, you gauged how good you were by how well you were able to pull off a song from 'The Last Five Years.'
The sun shines not on us but in us. The rivers flow not past, but through us. Thrilling, tingling, vibrating every fiber and cell of the substance of our bodies, making them glide and sing. The trees wave and the flowers bloom in our bodies as well as our souls, and every bird song, wind song, and tremendous storm song of the rocks in the heart of the mountains is our song, our very own, and sings our love.
If something gets under my own skin, and keeps reoccurring, it starts to take on a certain weight and value, and I think, "I have to put this in the song. I have no choice but to mention Greek Cypriots in this song." It's a little internal challenge to myself. Like creating little imaginary rituals in yourself to help the song go from nonexisting to existing.
We haven't really changed, we've just gotten better at executing what we've always been trying to do. We're not really a band that has undergone huge stylistic decisions to change, we're just trying to follow the song. More and more, we let the song lead us - we don't try and put the song into a structure of our taste or our fashion.
If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of the street, on the roof of a house. It's clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It's a wordless song, for the most, but it's a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note.
You can hear 'Human Nature' all over our song 'Elevate.' It's an amazing song. That hooky arpeggio in the beginning is great. Unlike most Michael Jackson ballads, even though I'm a huge Michael Jackson fan, this song is kind of restrained. It's not a huge, crazy song you can dance to - it's just this beautiful piece of music.
There is a little bit of a head vs. heart kind of battle that happens sometimes with the song. There's the goose bump thing, where the melody or whatever it is just gets you and you don't know why. Sometimes, it's in a genre that you didn't think you liked and, all of a sudden, the song hits you and you just say, wow, I feel the hairs on the back of my neck. I love this song.
This was the first time that he has ever looked into the labyrinth of the human soul. He was very far from understanding what he saw. But what was of more value, he felt and suffered with her. In years that were yet to come, he relived this memory in song, in the most beautiful song this world has known. For the understanding of the soul's defencelessness, of the conflict between the two poles, is not the source of the greatest song. The source of the greatest song is sympathy.
HERE It's- Can I say? It's like the song of a family where everything's always all right, it's a song of belonging that makes you belong just by hearing it, it's a song that'll always take care of you and never leave you. If you have a heart, it breaks, if you have a heart that's broken, it fixes.
When I was 12, I wrote a legit song - about having my heart broken, of course, because I was 12 years old going on 40. I sang the song for my mom, and she asked, 'Where did you get that song?' I told her I wrote it, and she said, 'Really?' She looked at my grandparents and just said, 'Oh, boy.'
It's of course important to mention that when DJing, I'm building my own story through the music. I'm figuring out what song to play next, what song to play after that, and how the two will blend together. How the emotion is going to develop from one song to another. So I first build that storyline.
Thank God, 50 years ago I learned that a great song, our entire business is all based on two things; a great song and a great story. Film, television, if you don't have that story, nothing else matters. You don't call anybody else or direct anybody. The same with a song. A great song can make the worst singer in the world a star.
On past records I usually did start with a story or an idea for a song and then write around it, but on Achilles' Heel I would just start writing and try to let the song and my sub-conscience determine the direction. which is a goofy way of saying I tried not to decide before hand what the song and or the characters would do and be like.
My philosophy on writing a song for myself is that I always, always, always want to write a song. I always want to write a song. I realize that as a record producer or a singer or whatever I might not, if I recorded on myself or someone else, the first time out I might not give it the right treatment, so that the world or many people will accept it and it'll be a public hit, or anything like that.
I can have a song with Ariana Grande that is going to be the song for all the kids and the teen girls, and then another song that could be for a different group of people who all love the song. I'm with whoever. Whatever type of people want to love the music and whatever they love about the music is fine with me.
Every song falls short of the glory of what a song could be. That's why the urge is there to start again and yet again. Often it's the fault of rhyme. I've discovered a hundred times that there just aren't enough rhymes to say what I wanted to say, so I said something else instead. Sometimes it was a better thing, but the thing I meant to say went unsaid. So there's an opening for another song.
To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.
I love lyrics. I've always been averse to the straight lyric idea. I guess a big part of it is, that songs that are literary always turn me off. Because they feel so abstract. Like a song. What is a song? We have to remember what the function of a concert and the function of playing a song for people are. It's all become really abstracted.
'Wanna Be That Song' has everything I want to say about love and about what I'm trying to be. I wanna be that part of your life, that song that means so much to you, the one that takes you back to that special place... the song that makes you laugh, the song that makes you cry when you need to cry, that makes you dance when you need to dance.
I always try to write a song, I never just want to write a record. Originally I was not writing songs for myself. ....And I can say this, most of the people who have recorded my songs are songwriters themselves. ... Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential. When you write a song, a song has longevity. ... So I wanted to sing inspirational music, and that's exactly how I approached it-only the words have been changed to declare my relationship with God. Songwriting is my gift from God.
What is good is what it's going to lead to, like the song "Jai Ho." If good numbers are going to come in the future, it bodes well for a lot of things. But then, who's going to maintain that. That's the question. So far they could never lead to an Indian song, like a normal film song in this that they can relate to.
A. R. Rahman
With a track like 'White Christmas,' everybody has done that song in every format you can imagine, so I just looked at the chords at that particular song and what chords would make it work. That's kind of quite a sad song, and I had this idea of someone singing it in the subway, someone who is homeless, old and sad.
G-Dragonhe is very romantic. I'm his roommate so I see everything. He's seriously romantic. If he dates someone he makes a song for them. One time he asked me how the song was. And I said oh my god if this was released in Korea there'd be a huge deal and it would make so much money. But... since it's for the woman he loves it's only for her and gives up that money/fame from that song.
I would never sit and write a song in front of anyone, because you're so vulnerable. I don't know at what point in the process that it becomes acceptable to pass them on. When a song wants to be written, it will be written. When it does come, I will very rarely go back and edit lyrics. I'm quite a rational human being, and the only part of my life that I can't rationalise, or can't make sense of, is how a song gets written or why.
Heart of my heart, the world is young; Love lies hidden in every rose! Every song that the skylark sung Once, we thought, must come to a close: Now we know the spirit of song, Song that is merged in the chant of the whole, Hand in hand as we wander along, What should we doubt of the years that roll?
AND MUSIC AIN'T NO CRIME SO IF YOU WANT SOME FUN AND YOU LIKE THIS SONG FORGET ABOUT YOUR TROUBLES AND SING ALONG JUST WHEN I'M SINGING THIS NASTY LITTLE SONG AND WHEN THEY'RE PLAYING WE KNOW WHERE WE BELONG OHHH, THE FUTURE CALLS SO RIDICULOUS THE BASSLINES ARE THE SAME OF THE SAKE THE DRUMMER'S ALWAYS SLEEPING EVERY SINGING IS A SHAME BUT IF YOU WANT SOME FUN AND YOU LIKE THIS SONG START TO DANCE AND SING THE FUCK ALONG JUST WHEN I'M SINGING THIS NASTY LITTLE SONG AND WHEN THEY'RE PLAYING WE KNOW WHERE WE BELONG JUST WHEN I'M SCREAMING THIS NASTY LITTLE SONG AND WHEN THEY ALL TRY TO PLAYING AND EVERYTHING GOES WRONG WE DON'T CARE, WE LAUGH ABOUT IT CAUSE YOU'RE THE ONES WHO PAID FOR THE SHIT GIMME ALL YOUR MONEY GIMME ALL YOUR MONEY