I often don't go to sleep and work through the night. I can't seem to do my vocal takes if there's light outside. There's a gentleness to the night that leads me in my stride.
When you do a remix, obviously you get a beautiful melody, you get the beautiful vocals - everything is already set up. You already have a base, which means all I gotta to do is create the music behind, 'cuz it's already beautiful.
It's hard to sing really well when you're playing an instrument, but it'd be great to try and sing really well and have vocal effects and one drummer on a real drum-kit, and one on an electronic kit.
I used to do more melodic stuff, and I used to do more actual rap - like traditional hip hop vocals. I think my method of storytelling has led me to this point, at which I want to pare down my style. I think I give the lyrics more thought, and then when I try to perform the lyrics over the track I'll try it over and over again, and eventually the lyrics will sink into the track by the way I project them.
I want the feeling where you don't really know what to do with yourself - in the vocals, in the production. Everything.
I've always been very vocal about my religion. It's a big part of who I am.
Well, people who are blues purist types are usually the most vocal and the ones that pop up on the websites.
So it would be a happy marriage between the movement and the vocal and uh, this is the thing that you give a lot of consideration to.
I am a poet, bard, scop, minnesinger, trobairitz who is driven by sound and the possibilities for vocal expression, the mouthing of text as well as intentionality or dance on the page.
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'm not a rock and roller, a hitmaker. I'm highly dependent on what's coming out of these vocal cords.
The Beatles were basically a vocal band.
Generally I'll keep 95% of what I sing on that first scratch vocal take. Sometimes that idea will ferment for a long time, and sometimes I"ll be close enough to my studio and have enough time (kind of rare these days) to go and work on the idea. Not every song is super easy though.
When I came to the United States in 1975 I was eleven, and within a few months my voice broke. I recited commercials like a parrot and I got yelled at quite often. My older brother one night said, "You speak so much English when you're not supposed to, that's why your vocal chords shattered. Now you sound like a duck." I thought it was true. I went from this sweet-voiced Vietnamese kid who spoke Vietnamese and French to this craggy-voiced teenager.
I work with this wonderful five-piece band, The Tony Guerrero Quintet, along with Kate Flannery, who was Meredith the Drunk in The Office, and Tim Davis, who was the vocal arranger on Glee. The three of us sing, and the band is amazing. We've been working together for about two years. So, we decided to do a Christmas album in July.
I was very vocal about how I wanted to be portrayed on the show, and how I wanted the stage setup to be.
I had a little bit of a vocal strain at a certain period of time that made me lay off the singing, and while I was lying off the singing, I was pursuing the acting.
I love that [ late-50s Verve recordings] - to me, that's the epitome of vocal jazz. It's my favorite style and era of it.
I feel like, in many ways, Billie Holiday's still very under-appreciated as an artist. People focus on her voice, and all of the very recognizable vocal things that she does, which are great. But I wanted to, with this project, start the conversation again about her as a radical feminist, as a civil rights activist - taking a stance. And also just [her] being a non-conformist.
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 think everyone has a story to tell. Part of what I do is help artists find their voice, not only their vocal voice, but their writing voice. Every artist that I worked with who has those records that everyone talks about, they are also writers. I like to say I helped support whatever their writing was so people heard the song clearly.
I do believe that oil production globally has peaked at 85 million barrels. And I've been very vocal about it. And what happens? The demand continues to rise. The only way you can possibly kill demand is with price. So the price of oil, gasoline, has to go up to kill the demand. Otherwise, keep the price down, the demand rises.
My vocal style I haven't tried to copy from anyone. It just developed until it became the girlish whine it is today.
The kind of vocal exaggeration that I developed was based on what key songs were in.
Storyboarding is what I call an "idea landscape" - one that can help unleash creativity, improve communication, and identify practical solutions to complex problems. The beauty of storyboarding is that ideas from an entire team are harnessed, not just those from the extroverts or vocal members.
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