Quotes of All Topics . Occasions . Authors
You can't imagine parlor ballads drifting out of high-rise multi-towered buildings. That kind of music existed in a more timeless state of life.
I subscribe to that school of thespian - to be a wandering minstrel or traveling player, a thing ofrags and patches, of ballads, songs and snatches.
I'm not going to do a song that's really sad and thoughtful. Although I've done ballads like 'Dear Darlin',' I want to make them dance and be happy.
In my player, I have a Luis Miguel CD as well as a Brian McKnight CD. I'm known for my very romantic ballads as well as the fun, up-tempo pop songs.
I grew up singing ballads, but what I really wanted to get into was the mainstream music on the radio because I really love the beats and everything.
I kept writing all these ballads; they're me speaking about life. But how am I gonna do the live show I wanna do if I don't have something I can dance to?
The genre I listen to the most is salsa, so people look at me and see this guy who's done mostly romantic ballads, but there's always been this other side.
Some of my other heroes around that time were, oddly enough, Frank Sinatra, Nat Cole and people like that - I was always more inclined to listen to ballads.
Cosmic terror appears as an ingredient of the earliest folklore of all races and is crystallised in the most archaic ballads, chronicles, and sacred writings.
Years ago, I wanted to be like the girl Ne-Yo. You know, with the mid-tempo ballads - I come from the Babyface era. But that's not trendy; that's not hip-hop.
I remember the ballads of the eighties when my mom was cleaning, sometimes I'd listen to, like, Amanda Miguel or something like that and I'll smell the Fabulous.
In Van Halen there were moments, like in some of the ballads, I put my heart and soul into those records. Those lyrics when I sang 'em, I gave myself goosebumps.
People call me for the ballads. Apparently that's where I've been pigeonholed. But it's really interesting and really fun. It's my favourite part of the job, writing.
I was in bands all through my youth. Things started out more acoustic and then piano ballads. Then R&B followed by sappy pop music and then rock, punk and heavy metal.
I started to write a lot of ballads that were sultry and had a Norah Jones-for-country kind of feel. I wanted to bring elements of old soul music and old country music.
The wonderful thing about cabaret is, you can do a lot of things you can't do in a concert. You can't do smoky ballads for 50 minutes in a concert. It's a different animal.
The Border Ballads, for instance, and the Robin Hood Ballads, clearly suppose a state of society which is nothing but a very circumscribed and not very important heroic age.
The Raspberries had recorded some ballads on every one of our albums, but after 'Go All The Way' was successful Capital pretty much wanted to hear nothing but 'Go All The Way.'
I dated someone in the '90s who was really into Metallica, and I remember thinking at the time, 'That just sounds so heavy and hard.' But they have great ballads! Great ballads.
I started singing before I started talking. And that's the God's honest truth. I think it was something that I've always loved to do, even if I wasn't good at it. I just loved ballads.
When all my friends were into punk, I'd be singing versions of soul ballads. I thought, 'Oh my God, I don't want them to know I'm doing this.' But I really enjoyed singing those songs.
My style of singing is very much Latin jazz meets Latin and a little bit of rhythm and blues. When I do ballads, my fans love it. They want to listen to my classics. They want to party.
Pat Benatar might need a rock band, but I can just sit with a blues guitar for an hour and a half and do folk songs and great contemporary ballads, and not many people can pull that off.
My sound definitely pays a lot of homage to the Nineties, but not just the dance music. There's also breakbeats, R&B, the big ballads. It's that whole era infused with very modern sounds.
I'm a really new artist here. I would say that my style is an artist who can dance and sing. That's why my album is really upbeat. Maybe we will try slowly to do ballads or middle tempo songs.
When I was making my second record, I was in studio, and I was like, 'No more ballads! Absolutely not!' And somebody walked in with 'The Man I Wanna Be' and I heard it and was like, 'Ah, crap!'
I remember in 2016 when I got signed to my record label Good Soldier, which is a very small indie label. They took a big risk on me because ballads were the furthest thing from cool at the time.
On 'Idol,' you have to show off your vocal abilities, so I stuck to the ballads, so I'm glad my first single is 'Tonight' so I can show off my fun, young side, and what I want to do as an artist.
I get to work a lot of times in nightclubs and large theaters, so I wanted to make music that is fun to perform in those settings. But I also wanted to contrast it with really serious, sincere ballads.
Ive got a soft spot for really cheesy 1980s ballads by Pat Benatar and Foreigner. When I'm having my make-up put on at 6am and I need to be warmed up gently, it's always Ella Fitzgerald or Nina Simone.
I found my voice singing pop and ballads, almost all of them Colombian artists. When I was 16, my family gave me a recording session with some Colombian producers, and that's where I started my career.
Well the country songs themselves are three-chord stories, ballads which are mostly sad. If you are already feeling sorry for yourself when you listen to them they will take you to an even sadder place.
It's true, there's a lot of melancholy in my music. I don't know why, I'm not a melancholy person. I've always been drawn to it. Ever since I was a kid, if I had an album I would play the ballads on repeat.
When the second album came out, everybody gravitated immediately to the three and a half minute rock tunes and ignored the ballads. They thought all the Raspberries were was players of high-energy rock songs.
Maybe you could put it out there that I don't have a built-in dislike of ballads. That was kind of the reputation I had back in the Seventies. But I've come around. Ballads have become something of an acquired taste.
If I were not a black artist but I was still singing, playing guitar, and singing ballads that are spiritual and cerebral, I'd be easier to market because people accept that from white female singer-songwriters faster.
From all the years that I've been in the business, you know that ballads are what impact. Mid-tempos are great, you can sell some records on 'em, but when it comes down to it, ballads are the meat-and-potatoes on the album.
There have never been so many women in the music industry, but they're doing ballads and pop. Where's the new Joan Jetts and the Wanda Jacksons and the Debbie Harrys, all these strong women? I wanna be the woman that rocks.
Most of us remember Nat King Cole as a vocalist. His warm, grainy baritone is still so closely identified with such familiar ballads as 'Stardust' and 'The Christmas Song' that it's hard to imagine anyone else performing them.
The British ballads became a new kind of form in their hand. And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.
I just love ballads. I am obsessed with them, so I've written a lot of those. They just kind of touch on all the different types of emotions. Though, I think poppy, feel - good songs are underrated and not seen as artistic enough.
Kenny Chesney's music cuts. He gets into those massive ballads like 'There Goes My Life' and 'The Good Stuff' and things like that that just crush you, and delivers them so well. Some of that you can't really put your finger on; it's just magic.
Half the people tell me, 'I love 'Go All the Way,' but why do you have to write all those schlocky ballads.' And half say, 'I love 'All By Myself,' but why do you waste your time with this rock 'n' roll stuff?' I'd like to think that I could do both.
I've been fascinated over the years by the way refrains work. Think, say, of the refrains in Yeats' ballads. Ideally, each time the refrain comes back in a poem, it is both the same and different. It works by counterpoint and reiteration. It accrues meaning.
I think up until the 'Honestly' album it was very much label-company lead, of 'this is a sound that we need, this is what you need to do. You need to do ballads, you need to do a million different types of love songs,' and I hate ballads and I hate love songs.
I didn't want to be a solo Westlife - covers and ballads - and the reason I signed with Capitol Records was because they wanted me to write songs myself. It was pretty scary, but they put me in a studio in Nashville with some new songwriters, and the results were pretty good.
One thing all the way through the show to me is boring. I don't care how great the artist is. I find that if my audience is very young, and they want to hear very young songs, my show will be dominated by that. But there'll be some ballads here and there and some swing tunes.
I do appreciate the '80s as an era, the general sounds and aesthetics of the era. The Cure, that whole kind of image is really kind of amazing, I think. The power ballads and how everything sparkles and words are really dramatic. Huge drums, things like that. I do really find it inspiring.
I was attracted to black music for the same reason that I loved those old Irish ballads. Both were social statements of sorts, and both were indigenous to their respective cultures: Ireland, where my father had grown up, and towns like St. Louis along the Mississippi River, where I was growing up.
From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.