Sing Quotes - Page 19

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People have mentioned, 'Maybe you should try to be more sexy. Look at how this butt stuff propelled this person to the top of the chart; it's amazing!' And I'm like, 'What if I really want to sing something to people?' I speak my mind. I want to be that person people feel they can listen to.

When I was a vocalist, a lead singer in a rock band, I was a law student at the time. It wasn't a professional rock band, it was for fun. I was already way out of that by the time Phantom came along. Having to learn to sing, it was such duress, having to really try and get to such a quality.

I've got to sing for Pops; I've got to keep my father's legacy alive because he started all of this. So I started calling people, and nobody would give me a chance, but I didn't let that stop me. I took money out the bank and I started making me a record, and I did it in this guy's basement.

Records have never really been my strong suit. I've always been a much better live act. I didn't understand the language of the studio. You sing differently in a studio. The language, the craft - it's just a whole different deal. I avoided the problem on my first record by doing a live album.

I'm a man with many defects. I love. I sing. I dream. I was born in the poor countryside. I was raised in the countryside, planting corn and selling sweets made by my grandmother. My children, my two daughters are with me and I want a better world for my grandchildren, for your grandchildren.

I appreciate art in any form. So it applies to clothes as well. On stage, I think people prefer me in Indian outfits... in fact, it goes with the kind of songs I sing as well. Indianness in the form of a sari, or a chaniya choli or jeans with something interesting, matches my style of singing.

I looked at myself, and I just said, 'Well, you know, I can sing, but I'm not the greatest singer in the world. I can play guitar very well, but I'm not the greatest guitar player in the world.' So I said, 'Well, if I'm going to project an individuality, it's going to have to be in my writing.'

My junior high school teacher, Bennie Williams, was really more than a music teacher. She taught us poetry. She helped us put on school shows. She did all these kinds of things to help us stand in each other's shoes, and it was a really powerful time. That's when I discovered that I could sing.

At primary school, me and my best friend used to do D.I.Y. assemblies, and we'd do it as many times as we could until we got banned! We used to sing 'Hero' by Mariah Carey; it was, like, my favourite song; we were obsessed with it. We'd do it as a duet, and it's the first I remember performing.

Whereas religious prayers sing of peace and harmony, religion has divided human beings through an atrocious history of enmity and bloodshed. Yet, behind the veil of superficiality and hypocrisy, I always believed in the inherent beauty of God that lies at the essence of all true spiritual paths.

I used to always sing my way into the movies and the basketball games or whatever. I'd sing for whoever's on the door, and they'd let me in. I used to think I was Nat King Cole back in the day, you know. So I'd sing something like, 'Mona Lisa, Mona Lisa, men have named you,' and they'd let me in.

No one in my family plays music. But since I was very little, I would go around the house singing and dancing. And when I was 8, my parents asked me to get up and sing something at a family meal. I had my eyes closed, singing - la la la la la - and when I opened them, the whole family was crying.

I would do musicals in high school where there was dancing, and I would sing my verse, and then they would choreograph it so when I would take an eight-count to back up to the back of the stage while the other dancers covered me up because my body was totally... I was always in newborn-deer mode.

While a lot of hip-hop was inspired by jazz or James Brown samples and was made to be played live in the clubs, I made hip-hop that was made for MCs to eat the mic up. It was an aggressive form of hip-hop. It was made just for hip-hop. It's not made to sing or dance to, though you can if you want.

I had - after I sang the 'Star Spangled Banner' so badly, after my tragic singing accident, after that, you know, all my stuff kind of, like, really got even more full blown and, you know, I got stage fright and, you know, I couldn't do stand-up anymore and let alone sing and all the other things.

I was a disruptive student. I hated my teachers, especially my Spanish teacher. When I went to see the musical 'Matilda,' the horrible Miss Trunchbull brought back all sorts of horrible memories. I'd go into Spanish class, put on headphones, and sing at the top of my lungs until they threw me out.

The movie business is very difficult but the music business is just impossible. So I'll play in bands and record and play songs with other people, but for me it's a form of expression that all I need is me. I don't need cameras or agents, I can just have a piano and sing and feel totally verified.

One of the disadvantages of poetry over popular music is that if you write a pop song, it naturally gets into people's heads as they listen in the car. You don't have to memorize a Paul Simon song; it's just in your head, and you can sing along. With a poem, you have to will yourself to memorize it.

We don't have all this gay-bashing crime. You don't see that. It's not there. That is not really happening in Jamaica. But because a few artists basically sing it and put records out and the media runs with it, then the stigma becomes big, and now we're trapped with that whole thing. It's really sad.

The true treasure lies within. It is the underlying theme of the songs we sing, the shows we watch and the books we read. It is woven into the Psalms of the Bible, the ballads of the Beatles and practically every Bollywood film ever made. What is that treasure? Love. Love is the nature of the Divine.

There's a certain feeling of giving, a certain feeling of generosity in love songs. When you sing a song of love, you're actually giving something to yourself, too. You're singing and casting these affirmations of love out into the universe. It resonates in your body in a way that feels extraordinary.

When I was six years old my friend was auditioning for 'Annie,' and I decided I wanted to audition with her. My mom was worried I would fall flat on my face because I'd never opened my mouth to sing, so she sent me to vocal lessons. I did the audition and fell in love with the entire process of a show.

In the old days, people shared music; they didn't care who made it. A song would be owned by a village, and anyone could sing it, change the words, whatever. That is how humans treated music until the late 19th century. Now, with the Internet, we are going back to having tribal attitudes towards music.

I remember my choir teacher in high school told me, 'When in doubt, sing loud.' I'm a terrible singer, but I always auditioned for the musicals, and would get cast in them because I really would just put it all out there. That was really good advice, and I think it works for everything, not just acting.

For me, the moment the mic is on and it's rolling, it's impossible to vocally relax for some reason. But one day, I'm going to be able to sing the way I sang when I was a little kid, completely open and free. That's, I think, the one thing that's changed: Growing older, I'm not ashamed to hear my voice.

There are certain functions that a writer has to do. In a time of crisis, it is great to have heroic poems, as it was in the Irish Revolution. It's great to have great songs, because people need something to sing when they are marching. That's OK, but it should be on the side. It's not the ultimate thing.

Living in a capital in Europe but still surrounded by mountains and ocean, my relationship to music was strongest walking to school and back. I would sing to myself and very quickly started mapping out my melodies to landscapes - at the time I just thought it was very matter of fact, a common thing to do.

In 2003, I wrote a New York Times best-seller called 'Shut Up & Sing,' in which I criticized celebrities like the Dixie Chicks & Barbra Streisand who were trashing then-President George W. Bush. I have used a variation of that title for more than 15 years to respond to performers who sound off on politics.

Obviously this song is an achievement for me in my career, but what makes me really feel good is to make Latinos feel proud. To provoke that pride that a pop figure and someone so big in music globally like Drake would sing with me completely in Spanish and create this hit 'MIA.' That's the best part of it.

Most songs have meager beginnings. You wake up in the morning, you throw on your suspenders, and you subvocalize and just think. They seem to form like calcium. I can't think of a story right off the bat that was that interesting. I write things on the back of my hand, usually, and sing into a tape recorder.

I was too shy, I think, to sing publicly. It takes a particular kind of person. And when I was young, I was not that person. In the first instance, when a record company said to me, do you want to try and make your record, my first reaction was, no, I'm not worthy - I couldn't possibly, and so on and so forth.

Justin Vernon is one of the collaborators Kanye will always go to. He doesn't fit in with any genres - you never know if he's gonna sing, like, the Bee Gees or some crazy, distorted thing. And you don't know what he's saying half the time. He's kind of like Michael McDonald, like he's got marbles in his mouth.

I wrote all the lyrics on 'Good Vibrations' and most of them in 'Kokomo.' 'Kokomo' was extremely popular and fun to sing - it's probably one of the bigger sing-along songs in our show. But then 'Help Me Rhonda,' 'Surfin' USA' and 'California Girls' and 'I Get Around' and 'Fun, Fun, Fun' are great songs as well.

I started singing about three years ago, I entered a local singing competition called Stratford Idol. The other people in the competition had been taking singing lessons and had vocal coaches. I wasn't taking it too seriously at the time, I would just sing around the house. I was only 12 and I got second place.

I'm trying to open up my range and really sing more. With The Fugees initially, and even with 'Miseducation,' it was very hip-hop - always a singing over beats. I don't think people have really heard me sing out. So if I do record again, perhaps it will have an expanded context. Where people can hear a bit more.

I talked with labels and they wouldn't help with my international career. They said, 'Saara, if you're in Finland you just have to sing in Finnish.' That led to this situation where I felt very lonely. I was really sad and still I was doing gigs all the time. I'd go onstage crying but I was still trying to sing.

You can approach the guitar like a voice. That's the best way of looking at it. If you are singing, you can't keep going a million miles an hour. You can only fit so many syllables in, so think about what you can sing through your guitar. Players like David Gilmour and Neal Schon are great at that kind of thing.

Amy Winehouse was not a person I ever met, and I can't say that I am overly conversant in all of her music. I do have her albums, and years ago, when I first heard her sing, I thought she was extraordinary. The tone of her voice, her phrasing, her raw appearance - these qualities were extremely captivating to me.

Of course, there are those critics - New York critics as a rule - who say, 'Well, Maya Angelou has a new book out and of course it's good but then she's a natural writer.' Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.

I do sing in the car. I actually sing Britney Spears songs in the car - me and a close friend of mine. She lives in West Palm and I live in Miami, and when we're going back and forth to see each other, we sing: 'Oh, Baby Baby.' We sing all these 1990s songs. We're like two 14-year-old kids just having a good time.

Whenever they sang a certain song in church, I used to sing it the loudest: 'Lead me, guide me, along the way!' One day, as I was singing this song, I felt as if the Lord was saying to me, 'Lead you along what way?' I realized then that if you don't have a plan, God doesn't have anything specific to direct you in.

I'm doing a program with NAFME for music and education in schools, and for a week, we will be getting in a bus and traveling across the United States. We're starting at Disney World and ending at the Grand OIe Opry. We will be performing at different schools, and I wrote a song for the program called 'Always Sing.'

I started singing in coffeehouses when I was still in high school, in Santa Barbara. I took a job washing dishes and busing tables in the coffeehouse, so I could be there, and would beg permission to sing harmony with the guy who was singing onstage. That was the first time I ever got on a stage in front of people.

I took some voice lessons here and there as a teenager but nothing too serious. I started taking it more seriously when I was in Miss Saigon. I needed to improve my technique in order to survive doing that show as many time a week as I was doing it. It's not an easy show to sing, so I needed all the help I could get.

I always have been an entertainer, whether it's been joking or performing for people. And I always thought I had a talent, because I could rap and I could sing, and I did write. And all the other kids were going to college, but I just felt like I had to do this first, and if it didn't work, then I would go to college.

I have a younger brother and sister who actually play in my band, and we were always into Disney music, big time. The first time I heard myself sing was when I recorded myself singing a Disney song. I remember it because it was awful, and I didn't expect to hear that. I think it was 'A Whole New World' from 'Aladdin.'

'The Haunted Man' is about communication barriers between men and women, and in that song it's a woman's wait for her husband to come back from war. The vision for me was of a group of men and women on the opposite sides of two cliffs, trying to move or sing to each other and communicate, but they're kind of misfiring.

When you sing with a group of people, you learn how to subsume yourself into a group consciousness because a capella singing is all about the immersion of the self into the community. That's one of the great feelings - to stop being me for a little while and to become us. That way lies empathy, the great social virtue.

I had two starts, really. The first was going to the Italia Conti stage school, aged 15. I'd gone to sing, but one day I found myself doing an improvisation and thought, 'Oh God, I quite like this acting thing.' The second start was meeting Mike Leigh when I was 22. He showed me I could play people that weren't like me.

Before every show, I would call my mother and say, 'Mummy, I don't know how I will sing today.' But that would change as soon as I went on stage and would merge with my music. She is my best ally, and I don't want to lose her. Nobody other than her would be concerned if I had eaten or had oiled my hair. She is my queen.

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