Song Quotes

Never hate a song that's sold a half million copies.

To summarize, the particular song a male sings, and the behavioral responses of females to song and morphological signals, are not genetically inherited in a fixed manner but are determined by learning early in life.

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

I've woken up from dreams and the whole song is there. I'm listening to it in my dreams. I consciously have to wake myself up and get a tape recorder because I hear it like a record.

I like to interpret 'Call me a River', as if I'm saying, 'Now you're telling me you love me after all that, and I'm telling you to shove off.' That's my interpretation. But I would never 'say' that because somebody else might interpret the song in another way.

If I found a cure for a huge disease, while I was hobbling up onstage to accept the Nobel Prize they'd be playing the theme song from 'Three's Company'.

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

There's nothing that makes you so aware of the improvisation of human existence as a song unfinished. Or an old address book.

I don't mean this in a stuck-up way, but I needed an attitude song.

One of my side strange abilities is to hear a good song, no matter how it's being performed. Even if you get a bad performance, I can still hear that there's a good song.

In an age of incompetence, I've been able to last in this crazy business. I actually know how to play my ax and write a song. That's my job.

But when you hear the complete album, it gets dark, really straight-up rock, with some really intimate moments with just me and the piano. It's not completely me because there are parts of me that aren't on that song, that are on the album.

One of my real goals was to hear someone whistling a song I'd written.

As the writer, you're always a presence in the song. If you get close to what human beings are like, you're writing about common experience. We all do much the same things, so if you nail somebody, then you've also nailed yourself.

I signed to Def Jam and within two months, I heard that Ja Rule was looking for someone to do a song with.

If I love a song I hope to find a way to get other people to love it too.

Sometimes I might borrow something from a song I started a long time ago and see if I can grab something.

You never know until a song comes out and becomes what it becomes, obviously you can't predict how the masses will react.

Even if you're specific about the character of the song, it's more exciting to place them, juxtapose them in such a way as to make an adventure out of the sequence of the songs.

The only one I really like is a song called Saccharine.

I've got CDs in my car, listening all the time for that next song, because everybody's looking.

If you call attention to yourself at the expense of the song, that's the cardinal sin.

For several centuries what has passed for song in literary circles was any text that looked like the lyrics for a commonplace melodic setting.

We just did a few takes of a song and just picked the best one. It was real organic and genuine.

I would like to be able to do a song with Ray Charles, before we both get too old.

When I was 20, I didn't give a damn about song construction. I just wanted to make as much noise and play as fast and as loud as possible.

One of them would definitely be the Nelson Mandela gig, when I played the tribute song for him. He was up and dancing, and he really enjoyed it. It was a really lovely occasion.

In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.

The hack songwriter will write the absolute truth every single word, whether it makes a great song or not.

I'm always imagining some sort of story behind the song, even the ones I haven't written. I'm actively engaging in playacting.