Quotes of All Topics . Occasions . Authors
I used to listen to Judy Garland all the time - I love Judy Garland and her music. But I started to realize that if you keep singing like that, singing songs of being victimized by love over and over and over again, it can't help but have a profound effect on your life.
Remember those black-and-white films with Frank Sinatra? Those guys looked like men and they were only 27! Listen to Otis Redding singing 'Try A Little Tenderness'. That was a man who understood what a man has to know in the world. Show me a real man now! Where are they?
My dad took me for an audition once, to show me, 'OK, you want to be a child actor, this is what it's like.' I sang a folk song about donkeys on this West End stage with this big director, and there was a queue of 200 girls all singing 'Memory.' I was terrible. Terrible.
I get the greatest feeling when I'm singing. It's other-worldly. Your feet are anchored into the Earth and into this energy force that comes up through your feet and goes up the top of your head and maybe you're holding hands with the angels or the stars, I have no idea.
A lot of Appalachian music has a certain haunted, foggy feel to it; a certain sinister quality. And that transcends who is singing it. I think it's good if an artist can represent some kind of culture that they either aspire to ignite, or that they themselves experience.
You have to be careful not to make music something you don't want to do. Which happens. I've gotten off the road and been like, 'I hate it. I hate singing, I hate playing guitar.' Six days later, I'm in my bedroom singing at the top of my lungs because I love it so much.
I've tried every which way for writing lyrics - everything from using really bizarre imagery and metaphors, sort of obscuring the facts of what I'm singing about, all the way over to a song like 'Losing My Mind,' where you're just reading my thoughts as they're occurring.
I remember the first club we played in San Francisco. There were a lot of people on motorcycles standing around outside, and I had trouble getting in. I didn't have any ID, and the guy at the door wouldn't let me in, even though I told him I was gonna be singing in there.
I think I wanted to sing, but I just couldn't because I was so shy. I didn't really know how to begin that other than like, singing in my room, locking the door, and trying to sing kind of quietly. I knew my mom would want to listen and she would probably bug me about it.
I've been interested in hip-hop since it first appeared: the fact that it was born not in the music industry but on the street, the idea of using a turntable as an instrument, singing vividly about reality instead of typical love songs, and its links to graffiti and dance.
I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties. I spent quite a bit of time in choirs growing up, and in the world-touring music group, Anuna. It's a sound with very rich texture, voices singing together.
My only description for me is that there's no throwaway people. That's the creed that I live by. It doesn't matter if I'm singing or not. That's the kind of person that my father and mother wanted me to be. The end obligation is to make people feel good about who they are.
When I do operas, I'm not really singing very classically. I have a classical background as far as being a pianist and an oboist, but my voice isn't really classical in the operatic sense. But I certainly have a classical sensibility, so I'm comfortable being in that world.
I am incredibly emotionally aware and connected with other people. You know, when you come see me live, you can see that different kind of connection and that connection with what I'm saying, and the things I'm singing about. So it really is about just keeping my eyes open.
We live in a crazily youth-orientated world nowadays. It's a trickle-down thing. We see pictures of lithe, attractive celebrity couples such as Brad and Angelina or the Beckhams cavorting around, covered in tattoos, stomachs as flat as the singing in early 'X Factor' rounds.
In music, I don't think there's any need to be an all-rounder and do everything yourself. Play to your strengths, and do what you feel. Or do whatever the material itself demands. In this case, I felt like it would benefit from me singing, and I wanted it to have that sound.
I got into hula hooping at age six - I hula hooped all day, every day. That was something I was comfortable with, but I never tried walking or singing while hula hooping! It's actually pretty difficult and tiring. But I like challenging myself. It's hard, but it's really fun.
Having had polio never held me back as I got older. Although having one leg smaller than the other isn't much fun, I could always get about without any trouble. Luckily, in the music industry, everyone was only interested in my singing and playing and not the size of my legs.
I learnt a lot from my Broadway experience, it was one of the most challenging things I will probably ever have to do in my entire life, because it was eight shows a week - live singing with really hard choreography - and the spontaneity, you don't know what's going to happen.
I'm not a virtuoso on an instrument. You know, I'm not always singing in pitch. I laugh sometimes my way through the shows, but I'm an honest songwriter who's always tried to bring the audience with me on my journey in hopes that they see their own lives reflected in the work.
I guess I'm attracted to people who are singing about love or life, and they have a particular passion that I can connect with. There are people I can tell are amazing, but I can't connect for some reason. It doesn't really make sense why you connect with someone or you don't.
At school, I'd be the dude singing to the girls, always up in the auditorium, in the lunch room singing Christmas carols, in the halls between class. I was always singing, and same thing with my grandfather. The apple doesn't fall too far from the tree; you know how that goes.
The whole first two-thirds of the I Just Can't Stop Loving You song is just he and I. He's singing lead and I'm doing all the harmonies and we're both singing all the background. We're singing all the choruses until the choir comes in. We were the first two-thirds of the song.
I sing when both directors and producers compel me. I'd rather give that opportunity to a gifted newcomer, to whom it makes a huge difference. There are a lot of talented youngsters out there, who can do with such opportunities. Helping them matters to me more than my singing.
I grew up singing Mexican music, and that's based on indigenous Mexican rhythms. Mexican music also has an overlay of West African music, based on huapango drums, and it's kind of like a 6/8 time signature, but it really is a very syncopated 6/8. And that's how I attack vocals.
There's nothing wrong with the screaming style of singing, and I'll be the first to admit that it conveys an emotion. But I'm getting older, and I can't scream and shout about the same things anymore. The songs I'm writing with Stone Sour call for a lighter, different approach.
Singing is my form of expression; it's what I've always done and I hope that in some capacity I'll always have that outlet. In the next few weeks I'm getting together with many varied kinds of songwriters. I'd really like to explore a few things and see what I can come out with.
I feel like sometimes, when I'm singing a song like 'Moment of Forever,' that it goes both to your significant other and to the audience, and was it wonderful for you, you know? I think the best love songs I've written work on that level, like 'Help Me Make It Through the Night.'
Even if the production doesn't feel African, the vocal delivery - singing through your nose. Specifically, Highlife music from Nigeria. That was the first music I ever heard as a child. So singing through my nose is something I do often, and that's directly rooted in my heritage.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it. I felt a calling.
I can change the arrangements on stage while I am playing or singing, doing signs to the musicians to change things because the audience is dancing or singing with us. That's the interesting part of the live show, actually, because everything is possible and everything can change.
Ever since I was younger I wanted to be on stage, singing my songs in a glittering costume. And that happened and is still happening. I have to remember that this is what I wished for and be grateful because there are 500 other girls right behind me that are ready to snatch it up.
Well David "Fathead" Newman was my first experience with improvisation. When I saw him play for the first time I realized that there is an importance of spontaneous music being made on the spot. It was so soulful and singing through his horn. So that's how I was inspired early on.
When you're singing we all phrase each other in the most remarkable ways. I might hit some sort of thing I've never done before - some vocal pattern. Bonzo will pick it up - he'll phrase with me instantly and then Pagey may join in or start some other phrase - it's like a quadrant.
When you're dressed up as David Bowie, with your eyebrows completely bleached, and you're doing this kind of strange dance with Paul McCartney while singing "Rebel Rebel" in the middle of the Met ball, and Madonna's looking at you . . . I was just thinking, It's become a bit weird.
From 11 to 17, I just toured my butt off with my dad and my sister. We hit the road and I was singing all kinds of different songs and different types of genres. But I knew from an early age what I wanted my sound to be, which was country on bass, and I wanted to be a country artist.
I started singing in my church choir, and then when I got to middle school, I had the coolest musical theatre director, and we actually did 'The Wiz' in seventh grade, and I was Addaperle, and my grandma was like, 'Why didn't you audition for Dorothy?' But I was too nervous for that.
I'm singing the way that I love to sing, which is like old soul, like old Al Green. I grew up about an hour from Memphis. So all that music that I grew up with - the Stax music and early rhythm n' blues - I'm doing that. I'm actually getting out from behind my guitar and I'm singing.
Bruegel has these paintings of people just... interacting with each other. And there's this special wink - it's not a celebration of nature, it's people that are mongrels, and half-wits, and they're doing terrible things. I don't know, it just seems like something worth singing about.
All music is what awakes from you when you are reminded by the instruments. It is not the violins and the cornets-it is not the oboe nor the beating drums, nor the score of the baritone singer singing his sweet romanza-nor that of the women's chorus; it is nearer and farther than they.
I like girls who want to get up and dance and don't mind singing in front of my family - you know, silly stuff. Some girls won't eat in front of boys or won't go bowling. They just want to go out and look pretty. I don't really get that. I want someone who is up for having a good time.
The religion I have is music. Even the times I have headaches, when I'm singing, I can't feel them. My dad used to say that, too, especially near the end of his life. He would be in pain - a lot of pain - and he said the only time when he didn't feel pain was when he performed and sang.
A potlatch is similar to a court case in that both are prohibitively expensive; both involve lengthy speeches and the vigorous examination and debate of the actions, rights and legal responsibilities of the participants. One has food, singing and spiritual rites; the other, not so much.
The most scared I'd ever been was the first time I sang at a rugby match, Australia versus New Zealand, in front of one hundred thousand people. I had a panic attack the night before because people have been booed off and never worked again... just singing one song, the national anthem.
Mr. Presley has no discernible singing ability. His specialty is rhythm songs which he renders in an undistinguished whine; his phrasing, if it can be called that, consists of the stereotyped variations that go with a beginner's aria in a bathroom. For the ear, he is an unutterable bore.
I've never bought a Dylan record. A singing poet? It just bores me to tears. I've got to tell you, if I had 10 Dylans in the final of 'American Idol,' we would not be getting 30 million viewers a week. I don't believe the Bob Dylans of this world would make 'American Idol 'a better show.
I've been singing about love a long time now, because my kind of love carries a different flavor. My lyrics are not so outrageous as some. You have to think about a lot of different things. You get more mature with what you do - more experience, more capable, you know, the older you get.
It isn't the height that scares me - the height makes me feel alive with energy, every organ and vessel and muscle in my body singing at the same pitch. Then I realize what it is. It's him. Something about him makes me feel like I am about to fall. Or turn to liquid. Or burst into flames.
I always loved singing, but I thought it was like drawing - just something you do in your own little corner to calm yourself down. But when my friend, the French songwriter Etienne Daho, listened to my songs, he was so moved that told me that I had to do a demo, share them with the world.
I always made sure that I kept the dignity, or tried to keep the dignity that they showed, by standing there and singing and not doing too much else, because I didn't know what else to do. But you know, sometimes you can get carried away and I don't know, lose your composure or something.