Vocal Quotes

Surf is that music which is entirely about evoking something. There's never any vocals, so it's not about the lyrics, it's about the reverb.

It has been rumored that "Psycho" is so terrifying that it will scare some people speechless. Some of my men hopefully sent their wives to a screening. The women emerged badly shaken but still vigorously vocal.

As women, we have more of a tendency to be people-pleasers, and I know a lot of women who are not vocal about what makes them happy.

I've recorded a lot of vocals so far and I think they're kinda still in my own world, but I do have that urge sometimes. You want to push yourself to do other things.

All of my favorite records have vocals high in the mix, even if it's music that wasn't necessarily mainstream.

My greatest teacher was not a vocal coach, not the work of other singers, but the way Tommy Dorsey breathed and phrased on the trombone.

Acquiring a repertoire in these days, when the vocal literature is so immense, so overwhelming, that the student with sense will devote all his energies to work and not imagine himself a martyr to art.

The West should be even more vocal in insisting that the Russians respect human rights.

The development of new instrumental and vocal idioms has been one of the remarkable phenomena of recent music.

It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs.

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.

Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels ... , or Webern, or Varèse, or Stravinsky. To me it was all good music.

I think the Internet really sussed things into perspective. Because twelve years ago, I could spend my days on writing and running my band and touring and making posters and practicing with my band and working on my vocals, but I didn't spend a large pie chart of my time sifting through criticism as well, and nowadays I do, and all female artists do, because to be able to promote your work, you need to live in those spaces.

Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.

My vocals are bad, I can't sing, hey man, I wouldn't ask you to do a drum roll if your arm was falling off.

I'm really not vocal and expressive, but I'm starting to get more comfortable to open up.

In opera tradition, when opera die-hard fans, there is a replacement of singer or singer wasn't at his or hers vocal best, doing something, they boo. Especially now that they pay hundreds of dollars for the ticket.

Well, I happen to have a love of vocal reproduction devices.

I actually produced other people's vocals for a long time when I first signed my publishing deal and I had just sort of decided that I only wanted to be a writer. I would be in all of these writing sessions, and a lot of times my publisher would say, "You should get a demo singer to sing it because then it doesn't identify as a Solange song."

I don't ever remember being able to debate with my parents. Even though I thought of myself as a very bright kid, I couldn't be vocal in that way.

[Dean Martin ] had this really wonderful rich, authentic, distinct vocal style. His humour in movies [and] the self-deprecation and the coolness he had could overshadow what a marvellous vocalist in the Great American Songbook he is.

When I started Fool's Gold and producing consistent records that were like electro beats with rapping on it that was experimental and weird. I made a mixtape called Dirty South Dance where I put rap vocals over dance music. That was literally an experiment. Now all these rappers are rapping on dance music. This is something I've been trying to build for a while.

the present Western civilization ... is dominated by the extravert viewpoint. There are plenty of reasons for this domination: extraverts are more vocal than introverts; they are more numerous, apparently in the ratio of three to one; and they are accessible and understandable, whereas the introverts are not readily understandable, even to each other, and are likely to be thoroughly incomprehensible to the extraverts.

Not only do you need great lyrics, a great message, a great story, great vocals, great chords... you also need great instrumentation, great editing, great sonics, great mixing, and great mastering. It all comes together to make something truly great, and I think each element combines together to create a powerful impact on the consumer.

At a certain point, I should start to pay attention and make sure I'm not damaging my vocal chords, because I enjoy using them a lot.

When I do my vocal warm-ups everyone calls me the dolphin because I do stupid siren noises.

I'm a singer, not a vocal stylist. My breathing is correct; my enunciation is precise. Because of that, I can sing anybody's music. Yet there are stylists whose technical skills are so underdeveloped they can sing only their own songs their own way. They might be remembered for their hits longer than I am. I'll probably be working longer than they are. I can sing whatever the times and the trends demand.

A lot of my male vocal influences are British - people like David Bowie, Freddie Mercury and Robert Plant.

I went down to London with the idea that I was going to do vocals over this crazy, crazy trip-hop digital beat. Within two or three months, I heard Hunky Dory by David Bowie and that changed me in one way, and I realized what I actually wanted was to have an E Street Band - individuals, not session musicians.

Manchester United could have any goalkeeper in the world. I was a 23-year-old kid from New Jersey who, from an early age, had to cope with Tourettes Syndrome, a brain disorder that can trigger speech and facial tics, vocal outbursts and obsessive compulsive behavior.

I think any song should sound good just played on a solitary instrument with the vocal. If you have those basics you have all you need. The production then just polishes that idea into the finished thing.

Well, you know, going into any project, especially with a fan base as vocal and passionate as something as "Star Wars," you will have groups of people who will find issues with whatever it is you're doing. But our job was to tell the best story we could about characters that we loved, and we knew that we needed to go backwards to go forwards, and we needed to go back to a feeling and a place and a time.

When we listen to improvisational jazz, or solo classical violinists, the way they phrase and inflect melodies feels vocal, like they’re talking to us. When I was figuring out how to perform solo, I wanted to move back and forth between bass riffs, melody, and harmony, so I often used sounds instead of — or alongside — the words of a song. I found that if I sang a line using the consonants, vowels, shadings, and inflection we recognize as human language sounds, people responded as if I were talking to them.

You must study their deliveries, their use of their bodies, their timing, and their use of audio and vocal effects.

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.

In vocal choreography you had to give a lot of consideration to the fact that you were working with singers and not dancers. But you had to make singers look like they were dancers, and to make the movements as natural as possible, and there to be an association with the movement, uh, somewhat to what the lyric was saying.

AC/DC's 'Highway to Hell' is the greatest meshing of vocal, guitar, and content I've ever heard. That's what I aspire to.

I have to have lemon and honey. I have to have apple cider vinegar, Braggs. And I have to have either Red Vines or Twizzlers. These things, you know, are the things that help my vocal performance.

Those who misrepresent the normal experiences of life, who decry being controversial, who shun risk, are the enemies of the American way of life, whatever the piety of their vocal professions and the patriotic flavor of their platitudes.

It was my dream for years... to train. Dominic [Cooper] went and he's doing alright. But some people don't go and do brilliantly. Although I think there are things I missed from not having trained. I think I'd be more confident on stage had I gone because I think it means you're equipped with better vocal training and things like that.

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.

There have to be people who are vocal about the advancement of knowledge over faith.

I have always considered myself a fast learner. I try to retain and absorb as much information and knowledge about the [music] business as I can. I don't want to just sit back and have other people do the hard work for me. I try to be involved in every process of my career as possible. I run my own social media, record, and try to vocal produce myself as much as possible, write my own songs, style myself, and learn the business side. If I didn't do acting or music, I was going to school for business. God has put me on this path and I can honestly say I wake up every day doing what I love.

I think if Unchained Melody does what I think it can do, I think there is an audience out there that would heave a sigh of relief, that finally there is a melody and orchestration, production and a vocalist that is giving them a song that they can just listen to... and not be annoyed by the vocal acrobatics that vocalists seem to think is impressive.

You don't have to be doing vocal acrobatics or singing all over the scale to have soul.

It's one thing having a great song, but I think for me if you take it to the next level... say you had a guitar and a vocal, and the song was amazing but the vocalist wasn't that great and it just was a guitar and vocal acoustic track, switching that to something like an amazing voice singing the exact same song with the instrumentation being really nice and lush or unique in some way and interesting and diverse... I think it's all about the instrumentation and textures in the sound.

Most of my records are very dense, composition-heavy, and there's bits of different kinds of music like an acoustic ballad, instrumental trio pieces, and vocal tracks.

I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.

I'm making a record that's half stripped down acoustic which is the way I perform a lot and half of it is very produced. It's really hard to keep music simple but I was trying to keep it simple and focus on one or two instruments and vocals.

Working on my own vocals is something I've been avoiding. But, I'm constantly thinking of ways to be able to include my own vocals without getting embarrassed. Even John Lennon wasn't comfortable on hearing his voice.