Quotes of All Topics . Occasions . Authors
Human mind has way too many shades. It would be so boring if this world was all sugar and gloss, just happy, colourful lives. People singing songs is not always the reality. Just like happiness and love, people also feel wrath, jealousy and vengeance!
It's important to me that my songs actually make sense. So often, I turn on the radio, and I have no idea what the people are singing about. It may sound good, but when you listen, they're just saying words that rhyme. It's another song about nothing.
For me, 'Atmosphere' was more about looking inwards and reaching out to people close to me. To emphasize the fact that I'm singing on the first single, this album is really more about me and songs that I've written instead of collaborating with people.
I was sitting on my mom's lap across from my father to see Kay Thompson at Ciro's. And I always remember this energy force, this woman flying around the room and singing these harmonies so everyone went, 'Wow!' So I thought, 'That's what I want to do.'
The first poem in The Beauty holds a woman in Portugal in a wheelchair singing, with great power, a fado. I have never seen this or heard of it, the image simply arrived. But surely such a thing has happened. And it matters to me that it has, or could.
I don't want to try to recreate for no reason. Like, me in my bedroom, singing songs to a camera was a special thing that was at that time in my life. But I'm just not that kid. I like the format of it, but I want to be able to release things for free.
Things are going downhill with you!' he said to himself, and laughed about it, and as he was saying it, he happened to glance at the river, and he also saw the river going downhill, always moving on downhill, and singing and being happy through it all.
What singing means to me, I never did consider myself a singer, I just let people watch me feel music and how it comes through me. I've worked on it and practiced a lot. I mean, music, I dance to it, and singing is just one way of getting it out of me.
The fact of playing an instrument and singing... that I can try to make my dream of singing and becoming a professional musician come true is linked probably to the fact that I traveled a lot, which gave me an open mind and an ability to push my limits.
I've had lots of friends who've gone through 'Battlefield' situations in their relationships, so when I was singing the song I put myself in their position and tried to imagine what they were going through. I got so, so into it and I think you can tell.
My mom's a concert pianist, so she started teaching me when I was around seven. When I was eight, I started writing my own songs, and kinda started putting piano and singing together. But I'm trained classically, which is a big influence on me, I think.
When you're singing, it can be looked at as a monologue, in a way. If it's about telling a story and connecting with your audience, you can do that through song, through dialogue, or through a monologue. That's what's special about being an entertainer.
I have known Chithra long before I became a composer. Her growth has amazed me; she had not seemed extraordinary when I saw her singing at shows or recording tracks, for singers like S. Janaki and P. Susheela, at Tharangini Studio in Thiruvananthapuram.
Don't get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That's a story. Handled properly, it's more dramatic than any apocalypse or goblin army could ever be.
I always enjoy it when I walk on stage. There were some times when I was working so much in the '80s, and I felt really burnt-out. But I'd be up there singing and not be 10,000 million miles away, you know, just opening my mouth and the words coming out.
I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.
I did once shatter a chandelier. I was singing with my college choir in Wales. I was the soloist and I hit the high note and there was this massive bang and all this glass came down from the ceiling. I'd like that to be my party trick if I can perfect it.
Usually, there's a story I've told that leads up to why I'm singing the song. The whole concept of the show was about being authentic and connecting with these songs. The best way to do that was in a room with an audience and for people to listen to that.
You can lose people without them dying, and I have, from moving, from traveling. The emotion is real, it just doesn't actually have to do with death. I'm singing about what I know, and it's a song about longing for somebody who's disappeared in your life.
I'm not a pop singer; I'm not a jazz singer. And I know I sing like not a whole lot of people do; I also know that a lot of other people act like I do. And better than I do. But what informs the singing is the acting. They're not separate from each other.
There have been periods in my life where I have experienced depression. It has been through some of my darkest moments that I have written some of my best songs. For me, singing and writing is very therapeutic. It's much more effective than taking Prozac!
Jazz took too much discipline. You have to come in at the right place, which is different than me singing the blues, where I can sing, 'Oh, baby,' if there's a pause in the melody. With jazz, you better leave that space open, or put in something real cool.
The power of the masses can influence any government in the world. The power of the masses can elect an official, start a revolution, and drive history. Nelson Mandela did it alone from his prison cell. Ghandi did it lying down. Egypt did it singing songs.
The Righteous Brothers got so heavy because of the dramatic hit records like 'Lovin' Feelin.' Bobby and I just felt like we were a couple of Orange County guys who were just having a great time singing rock n' roll, and then, boy, it became something else.
I had to get used to wearing a mask and wearing a prosthetic and performing with those things while singing and expressing myself through stylized movement, while keeping it as human as possible so the audience could be closer to the horror of the Phantom.
We wrote 'Fly' in such a vulnerable place where we weren't sure if we had what it took or we would ever make it. Now to have that song on country radio and have our fans singing it back is just wild, because we remember that exact moment, feeling that way.
Songs don't really feel like me unless I somehow shed a little secret or open myself somehow or be vulnerable. When I'm singing these songs, it feels like me, and that comes with the vulnerabilities and the strengths and the moments of triumph or whatever.
It comes back to the same old question people are always asking me: 'When are you going to do a solo record?' Well, if I did, it would probably be similar to 'Baluchitherium,' meaning it would be Van Halen music - which I write anyway - but without singing.
I wanted to go to drama school, but when I got the part in 'Falling,' I got an agent, so it seemed a good idea to work. I always did a lot of singing and dancing, so I am glad it worked out that way. I would like to study stage acting at some point, though.
Singers actually used to begin singing at a much younger age than they do now. I would say for me, I started late. But it's not unusual. I discovered I had a voice. I wanted to be a pianist when I was seven, and circumstances didn't allow that I studied it.
One of the interesting things an artist does is they keep rediscovering things, whether it's a jazz piece or a role you've done for 3,000 performances or a song you're singing for the 3,000th time. My job is to find that spark that keeps it fresh and alive.
Going back and forth between Western Arabic and African countries clearly created the various musical backgrounds I could have and obviously influenced my professional attitude, my way of approaching both music composition and singing, particularly phrasing.
If you don't wake up and have your own thing, whether it's writing or reading or traveling or acting or dancing or singing or being a mother or a father, something that drives you, then it's all worth nothing. One of the key elements in happiness is purpose.
I remember when our first album came out. After one of our gigs, we went across the border to Mexico and the band in the bar where we were was doing covers of our songs. I don't think they understood a word they were singing but they did the songs perfectly.
I always enjoyed participating in artistic endeavors, and I remember in high school participating in chorus, drama and singing madrigals, mainly because they were an easy A. I loved being in plays and musicals too, but you didn't really get credit for those.
My interest in women's voices started when I was in the boys' choir and we were singing in opera choruses. That was my first close-up experience with the female soprano voice. I was amazed at how it could be within the same scale but so different in quality.
'Insatiable', the album, was more of a project, really... it was more like a songwriting excursion and an exclusive deal that hadn't really ever been done that often before... me being like, 'ooh I'm an entrepreneur', rather than 'this is my singing career'.
I think country music is popular - has been popular and will always be popular because I think a lot of real people singing about a lot of real stuff about real people. And it's simple enough for people to understand it. And we kind of roll with the punches.
I teach you both effort and effortlessness, because unless you attain to effortless-effort, unless you attain to active passivity, unless you attain to a singing-silence - they look paradoxical - unless you attain to an unmoving dance, you have not attained.
If I don't think about anything and just sing sincerely, it could be the best, but at the same time of singing sincerely, I must also add my own thinking and measure in, to be able to maintain and sing this way is my dream, and it is also the biggest problem.
Most people in the U.K. discovered me playing a standard on Parkinson. In America, it was on VH1 singing an original called 'All At Sea,' which is a contemporary pop song. So the people that know me there tend to think of me in the singer/songwriter category.
That was my way, and I also use the music after five years, I started hearing opera, opera, it was very good instrument to keep the spirit very strong because you feel like you are yourself singing opera, and I used to hear a lot of opera, they send me tapes.
Singing has always been a part of my life. I started at Opryland singing, and I realized I could make a living at it. I thought it was something I would grow out of. I didn't know what I was going to do with my life. Everything's just sorta fallen into place.
I've always enjoyed singing and can't recall a time in my life where I wasn't singing. I'm most grateful for the strength I have in that department. I have a lot of bad habits on the guitar which limits my playing ability. But I get a little better each year.
I went through various phases of different accents - I get ridiculously obsessed with different accents, different regional ways of using the voice, different types of singing. It's all tied together. Speaking is a kind of singing, as are crying and laughing.
Playing the violin and singing and whistling are just three different ways of making sound. It's not trying to replace a band, per se. It's become a completely different thing. And it's not just simply an effect. It's just a very surprisingly intuitive thing.
When I hear someone, instantaneously, I'm like, 'Who's singing?' You're giving people so much of yourself, and my voice is the most natural, distinctive tool I have. It's up to me to express myself on a wider scale than just writing vocal melodies and lyrics.
I trained with a guy named Tito Gobbi, who was the Marlon Brando of the opera world. Tito Gobbi was the greatest singing baritone in the opera world and I studied in Florence, Firenze, with him. That was my first love, as it was Frank Sinatra's, oddly enough.
I probably wouldn't be singing if not for Michael Jackson. When I started singing, I didn't like my tone until my mom put me on to Michael Jackson and Stevie Wonder, so listening to the way they used their instrument helped me get more comfortable with my own.
Singing is all about certain inflection on certain lines. I used to listen to tapes of everybody from Michael Jackson and Prince to Earth, Wind and Fire. They would have different vocal inflections. If the line insinuated pain, they would cringe on some lines.