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Pop Songs Quotes
Growing up, there was only classical music on BBC Radio. We had to listen to the American Forces Network in Germany, which played pop songs, or the pirate radio boats off the coast.
That's what is so great about being able to record a 13-song album. You can do a very eclectic group of songs. You do have some almost pop songs in there, but you do have your traditional country, story songs. You have your ballads, your happy songs, your sad songs, your love songs, and your feisty songs.
The kids out there want something they can relate to, something that's real; most of that whiny stuff isn't real. The cheesy pop songs just bore me to death.
I see songs not as a commodity used up when the album goes off the charts, which is often the case with pop songs. I see them as a body of work. Life should be breathed into them.
When I say I don't have to write pop songs anymore, there's no way I'm going to get on the radio at 60 years of age unless I'm doing a duet with Gaga or I was on 'All of the Lights,' which was a Kanye West record that managed to get on the radio.
I don't want to sing boring pop songs - I want to sing songs that are meaningful to me.
Anyone would be embarrassed of what they did at 15 or 16. I listen back to that first record, and I'm like, 'Compared to what my contemporaries were doing, it was crappy.' You listen to an early Britney Spears or Christina Aguilera song, and they are great pop songs. I just don't feel like on that first record I got anywhere near anything great.
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.
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.
My earliest memories as a child are listening to Beatles records, and they are a big part of how I've learned to write pop songs.
I have the most eclectic audience - I've got gay, I've got straight, black, white, rich, poor, young, old, in 45 countries. And they don't all come because I'm the Sinatra kid, though that's a big part of it. My biggest successes have come from pop songs that I write myself.
Composers now just don't have the depth of inspiration for melody. Most of the lyrics of the pop songs you hear today are repetitious. They're almost nursery rhymes, as if written by children - which they are.
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 don't own an ABBA album, and I never had the urge to go and buy one. If you're just talking about well crafted pop songs, they were fantastic.
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. I guess it was just because I was really into music as a child, and I wanted it to say more. It was the thing, wasn't it? And now it isn't.
At one time musical theater, particularly in the '40s and '50s, was a big source of pop songs. That's how musical theater started, really - it was just a way of linking several pop songs for the stage.
In my head, I actually think my songs are pop songs. I think, 'Damn, that's a pop song!' I can practice in front of the mirror with my hairbrush for as long as I want to. But when it finally comes out, it sounds avant-garde to people.
I think 'pop' can be a bit of a dirty word. People are very cool in Australia. They don't like to admit that they like pop. There are people who listen to Triple J and cool stuff like that, but commercial radio is massive, and if you look at the sales of the pop songs every week, people love pop music.
It's a real gift to be able to have the works of brilliant, great people to learn from and build from. It gives you so much more to draw on, and then you don't have to be all about three-chord pop songs. I don't really like that kind of writing.
Pop songs are not as graceful as they used to be. Performers today haven't gone through the regimen of learning how to write. And of course, everyone wants to own copyrights.
I feel that Jane's is really a vibe and a time. It wasn't like we were the Beatles. We didn't have crafty pop songs where it sort of didn't matter who played them because they're just really great songs.
'Time after Time' is one of the best pop songs ever written, in my opinion. It's an incredible, beautiful, timeless song.
Sometimes, I write '60s or '80s style pop songs.
The industrial thing came about mainly through giving up trying to write pop songs in the early '90s. I don't think I was ever very good at pop music and as soon as I stopped trying, and started to write more the things I loved, it became much heavier and more aggressive.
My music is not a particular genre. It's not bubblegum or cheese. It's just good songs, pop songs. It's just my songs.
A. P. J. Abdul Kalam
Martin Luther King, Jr.
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