Quotes of All Topics . Occasions . Authors
Puberty was not kind to me. I had acne, eczema and had a stye in my eye, so it was quite hard to go in to somewhere where the majority were boys. At that age, they were quite vocal about what they thought of your looks.
When I listen to a song, I don't say, 'Oh my gosh, that vocal line she sang was the best thing I ever heard.' I'm thinking, 'That lyric just moves me. That lyric just said what I feel better than I could say it myself.'
I should be more vocal about the things I believe are doing us harm, but many years ago in my early twenties, I learned a bit of a lesson. I started to realise at that time the benefits of eating healthy food and drink.
They read their sports pages, know their statistics and either root like hell or boo our butts off. I love it. Give me vocal fans, pro or con, over the tourist types who show up in Houston or Montreal and just sit there.
I was never a protestor, don't get me wrong, I was never like a vocal... what was the line I used to repeat to myself?... I was a nonconformist in a conforming society, that's what I thought about myself back in the '70s.
Puffy produced four of the tracks on the album. Those are the four songs that are collaborations between Puffy and me. And he gives me my space to work even when we work together, like with my producer and my vocal coach.
I got a call from my manager who told me Diplo was working on a country project. I put my vocal on the songwriting demo and my team sent the song to his team. Evidently they fell in love with it... and the rest is history.
It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!
I'm happy to do voice-overs. I always have a good time doing them. I like to explore vocal nuance and accents and different people, different personalities. In a way, it is a lot more freeing than having your face up there.
I can do the vocal acrobatics but I really try not to. I've always been drawn to singers who sing it like it is, pure, straight down the line: Ella Fitzgerald, Patti Smith, Carole King. Simplicity is really important to me.
'Teenage Wildlife' is just epic. It's, like, five or six minutes long, and it kind of crescendos and builds into this insane vocal of Bowie wailing. I think I would pay $5,000 dollars to see footage of that recording session.
I definitely don't subscribe to the theory that more instruments, or more vocal tracks, harmony, or double tracking the voice, is a good thing. People do their early albums very stripped down, then each album becomes bloated.
The Brewers Association, a trade group of some 2000 small and independent brewers, was founded in 2005 to be a 'passionate voice for craft brewers' and craft beer, and it has made itself as vocal as the bigger Beer Institute.
I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.
But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.
In many ways, I've chosen to be plain, almost too plain, too self-effacing. Like, if I record a vocal and I don't like the way it sounds, I would have them turn it up and take the reverb off it to make it as plain as possible.
If you go to the gym every day, it's not really good. Your muscles get fatigued. Your vocal cords are muscles - they get burned out, they get tired, so you've got to give them the chance to recover and repair during the night.
I keep these songs in my head until I get behind the microphone. I never spend more than 30 or 40 minutes singing the vocal or it will sound mechanical. There are always mistakes, but it's about feeling more than being perfect.
I have been fortunate in my career to play a lot of lead roles. The downside to that is I don't have a life outside of the show. I go on lockdown even with my wife if the show is really difficult and I am having vocal problems.
But as far as dream roles - I know this is so expected of me, but I would to play Elphaba in 'Wicked' on Broadway. I have a lot of dream roles, but that's like my main one because of the vocal track. I love belting high things!
The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.
What I love about piano and vocal is it's incredibly pure, and it gets down to the essence of the song because you're not distracted by an orchestra. When it's just a piano and a voice, it's about the purity of singing the song.
The only vocal training I had was playing with a tape recorder as a kid, and you know, doing the beginning of the 'Lone Ranger' show, with a hearty hi-o silver, and just having fun, never really thinking I would be an announcer.
As vocal as some people have been about how emotionally attached they've been to celluloid, I've been equally emotional in my stance that nothing is more valuable than this. Than being able to see the result of your work quickly.
I've never had vocal training. No one could ever say that they helped me carve what my voice has become. It's just been more of self-training: me just continuously going into the studio every night and trying out different beats.
I do not know whether there be, as a rule, more vocal expression of the sentiment of love between a man and a woman, than there is between two thrushes. They whistle and call to each other, guided by instinct rather than by reason.
Just with the basic one guitar, one piano and one vocal and an audience, I think that the intimacy comes through more. People feel much more connected to the song because there's nothing in the way, and I actually enjoy doing that.
I didn't know that women go through a vocal change, which is called 'thickening'. Basically, it's like when your body gets ready for childbirth, and so it just grows in a weird way. When I figured that out, I was frustrated with it.
We are the kind of people who obsess over one word... but we have only one shot to get it right in concert. It was hard the first time I practiced with them. I was so nervous that my vocal chords were paralyzed for about a half-hour.
I was too shy to do any vocal lessons or go to choirs; I just didn't want to be seen doing it. It's something that I kept to myself. I started easing into it, and I started doing talent shows, and YouTube really helped with that, too.
When I've produced a song, I try to record a vocal over it, and sometimes it becomes really hard. Sometimes I've already said a lot that I want to say within the production. The vocal is just adding to it, rather than it being a song.
When I get recognized for 'Twilight,' it's usually a teenage girl, and they're usually really loud. So it certainly feels like I get recognized the most from that, but it could just be because of the nature of how vocal those fans are.
Initially we were spitting lyrics over garage beats, in that eight-bar gap where there wasn't a vocal. But we were rebellious towards garage because they were rebellious towards us; a lot of their gatekeepers said grime was too violent.
Rebecca Black might sing like a robot, but that's just proof she has evolved beyond us. Her vocal is just a slightly exaggerated version of the robot glitch-twitch stutter that's been mainstream pop vocalese for the past 10 years or so.
In my vocal, I think you can hear something of my earlier times when I'd sing in subway halls for the echo and perform doo-wop on street corners. But I had a lot of influences, too - singers like Sam Cooke, Brook Benton and Roy Hamilton.
Because I write the music, I write the lyrics, I write the vocal melody lines - I write everything. Just because I let somebody sing something doesn't mean they're more important than the bass player or the keyboard player or the drummer.
My fear with 'Lear' was that I would not have the physical or vocal strength. But this play, it's all in your head. That was one of the really interesting things when we were rehearsing it: We were all exhausted because it was all up here.
I do one accent - my own. I can make it louder or quieter. That is the sum total of my vocal range. I thought I could do an American accent until I tried it in front of an American - the expression of horror is still burnt onto my retinas.
I think Lena Dunham, the public figure, is - I hate the word 'brand,' but I'm going to use it - it's such a brand that is so tethered to her public persona and to 'Girls', but also this progressive politics that she's been more vocal about.
I've never taken vocal lessons. My early trumpet training and a fortunate talent for singing has always been enough for me. In the case of rock singing, I've always felt it was better to remain a bit untrained to maintain your individuality.
Such a chimerical idea as telegraphing vocal sounds would indeed, to most minds, seem scarcely feasible enough to spend time in working over. I believe, however, that it is feasible and that I have got the cue to the solution of the problem.
You see people you identify with, and you take pieces of people you like and shape who you are. Like, I sound just like my dad. But that's literally my vocal chords. I can't sound like anything else... I sound like him, but I act like myself.
I am Christian, and I was very vocal about that at first until people started using it against me. Now I've learned to keep it to myself. I don't think it has anything to do with my job or how present myself. I feel like it got really twisted.
Attempting to write vocal oriented songs to me felt like going through the motions and if you are going to go through the motions you might as well just do any gig that caused you to do repetitive motions like banging a hammer or serving fries.
It's very easy in the studio to get overzealous with your vocal takes, thinking, 'Oh yeah, I can do it over and over. I can sing at the top of my range for this whole song.' But when you're doing it every night on the road, it's pretty intense.
The music I want to hear in my head sounds somewhere between Jimi Hendrix and Massive Attack. It's not really like my dad, but there will always be similarities because we have the same vocal cords, and I learnt the guitar the way he taught me.
Vocal rest is awesome. It is like any kind of fast. Firstly, it is a purification of speech. It made me realize how not careful I am with the things I say. It also makes you find new ways of communication and new methods to connect with people.
The inspiration for our vocal harmonies was sort of Appalachian. It's sort of at weird intervals, and it almost has an Appalachian kind of feel to it. The harmonies were really spontaneous. And the way we jammed, we would just get into a trance.
I always say that the horror genre and the comedy genre are close cousins because they are the two genres where you are attempting to elicit an involuntary vocal response from a crowd of people and you instantly know whether it's working or not.
I've been a vocal advocate for Medicaid expansion, which is why I co-sponsored legislation to incentivize states like Kansas to expand Medicaid by starting the amount the federal government matches state's investment for expansion at 100 percent.