I went to Juilliard in New York and used to do cabarets just for fun. Occasionally, I would get together with a jazz musician and play at a restaurant for cash. And I've done some background vocals for recording artists.
My dad was a soul fan and a singer himself, and he loved vocal harmony, stuff like the Beach Boys and Motown like the Four Tops, which was a big influence on me.
My vocal style is called bel canto, which is an old Italian vocal style going back hundreds of years.
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.
Van Morrison is probably, at this point in time, my biggest influence as a vocalist. When we were making our last album I had a vinyl copy of 'Veedon Fleece' in the vocal booth in front of me, in the dorky sense. I think there were candles around, which is really tacky, but hey, I needed to channel Van the Man!
There's not a day that I don't work on vocals, have vocal coaches, go to acting classes, read books.
The development of new instrumental and vocal idioms has been one of the remarkable phenomena of recent music.
And singing is a physical thing - your vocal cords are these muscles.
But as far as dream roles - I know this is so expected of me, but I would to play Elphaba in 'Wicked' on Broadway. I have a lot of dream roles, but that's like my main one because of the vocal track. I love belting high things!
I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.
People who share the same language, French or Chinese or whatever, have the same vocal cords and emit sounds which are basically the same, as they come from the same throats and lungs.
If I'm playing with Ozzy it's just a guitar thing. But with the vocals I feel like I'm studying for the SATs.
We are the kind of people who obsess over one word... but we have only one shot to get it right in concert. It was hard the first time I practiced with them. I was so nervous that my vocal chords were paralyzed for about a half-hour.
I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.
When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.
I feel like vocals are to music what portraits are to painting. They're the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa.
There are a lot of people using technology that are playing to a click with backing vocals already stuck in there on some computerized thing that runs along in time to the show so they have these amazing vocals that are only partly the guys on stage producing them at the time.
I do a lot of vocal hygiene.
Bright gem instinct with music, vocal spark.
I had a lot of vocal problems when I was younger. I don't know if it's down to leading a healthier lifestyle or what but my range has increased.
The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.
I have as many pictures of my vocal cords as I do of my children. I have a great ear, nose and throat doctor, and we look at them - if there's some redness, maybe I'll take a little time off.
I pay such close attention of the record making process that most people would assume are very little and wouldn't be that big of a deal; the packaging, the title, and the harmonies, I think, are arguably as important as the lead vocals.
The essence of songs is neither vocal nor cerebral but organic. We follow songs in order to be enclosed. We find ourselves inside a message. The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.
The leader’s (Jeff Denson’s) superb bowing.. showcasing Denson’s haunting vocals
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