Hayley Orrantia Quotes
Quotes to Explore
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Even in the beginning, when we knew there was a legal argument about how much our song sounds like his song, as one songwriter to another, I wasn't sure that Cat Stevens would take that as bad.
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You can't try and make something you think someone else will like. You can only make what you like. How can you make a song that Yo-Landi Visser likes? You don't know me. You'll never understand me.
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I think the line is where you're in the studio, you're creating. That belongs to you as an artist. Nothing should taint that. I shouldn't be thinking about what the fans want, I shouldn't be thinking about what the radio wants, what the label wants, what your manager wants, a song for the chicks, a song for the street.
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As a songwriter I hate this whole, 'If it's a sad song, it has to sound like a sad song thing.' And that goes all the way back to my days with the Format. I'm an insane narcissist, so if I have to get something off my chest, I'll get something off my chest.
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I like finding that common point between another song and my music. It's like between people; you can be of religion or another, from this country or from another country, but we're all basically the same. It's just the same with songs.
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I've had writing sessions with people, but I've never had one where you're just there, and you start making a song, and then it's too good to be true that something really cool will come out of this.
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I did a song in eight minutes. I thought everybody could write songs that fast. But working with a lot of them, they don't.
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If you have a song that you think sounds like another song you should contact the publishing company and say I have a song here, let's cut a deal that lets everyone walk away feeling good.
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There's a lot of craft that goes into achieving a hit song - at the beginning of your career, you're usually more inspiration than craft, and you get great when those intersect. A skilled songwriter can get you to that intersection.
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Unless I am both capable of and willing to reopen the wound every time I write a song, if I choose to not look inside myself to write music, I'm really not worth being called an artist at all.
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When I write, I don't have any expectation of what kind of song it will become or who it might reach.
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I wrote a techno song after I was deported. I was in America for a little bit, but then I was deported back to Germany. I was very sad.
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The song of canariesNever varies,And when they're moultingThey're pretty revolting.
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They really can't imagine what my voice is like. Every time I sing a song, they are very surprised.
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My audience is a huge part of my success, so I see us as a team. They send me tons of song requests every day. Some of the songs I've never heard before, but I listen to them and then pick the ones that I love.
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All men that date me have to know that their name may end up in a pop song.
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A rhyme doesn't make a song.
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The people who run record companies now wouldn't know a song if it flew up their nose and died. They haven't a clue, and they don't care. You tell them that, and they go, Yeah? So, your point is?
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Emily Dickinson never developed. She remained loyal to her persona and to that same little metrical song that stood her in such good stead. She is a striking example of complexity within a simple package. Her rhymes are like bows on the package.
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I have the most eclectic music taste out there. I can be listening to an indie pop song just as easily as I could be listening to a Carly Simon song from the '70s to a country song.
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For most of your career, what you're trying to do is to step into other people's shoes.
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Unfortunately, Lifeline, known in some circles as the 'Obamaphone' program, is plagued by waste, fraud, and abuse.
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I love Whitney Houston. I absolutely love her song, I Wanna Dance With Somebody.
