Quotes About Song

When I listen to a song, I don't say, 'Oh my gosh, that vocal line she sang was the best thing I ever heard.' I'm thinking, 'That lyric just moves me. That lyric just said what I feel better than I could say it myself.'

'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.

'Crash' is the hardest song I've ever sang in my whole life. It's the lowest in my vocal register and the highest in my register, all within 15 seconds.

What I love about piano and vocal is it's incredibly pure, and it gets down to the essence of the song because you're not distracted by an orchestra. When it's just a piano and a voice, it's about the purity of singing the song.

If you have a good riff with a vocal as well, then it becomes a devastating song. That's why people love riff-rock: it's the ultimate air guitar music.

We always try to make every song we do sound like a track. It's vocal, but we want it to be really full so no one really can even know if it's a cappella. It's not like it's missing anything, per se.

The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.

If I improvise vocals at an early stage of the song, I just kind of listen to the roll, and then I kind of have a little vocal hook.

EDM has trained a new generation of listeners' ears to accept a much broader range of what equals a song. EDM has become top 40 stuff: those sounds, those styles, those ways of thinking about song structure - even thinking that vocals aren't necessarily the central element - those ideas have made their way into popular culture.

With 'Torches,' I wanted to make a great pop record; I wanted every song to be exciting, not to have too much space, no long pieces of music without vocals. I kind of wanted to write the perfect pop album.

But when I record my next studio album, of course I'll do the lead vocals.

I'll play about with different sounds in the studio with no concept of music at all. I'll just build up a song in layers and when it sounds all right and gives me a vibe, that's enough, and I'll add vocals and move on.

It was a song I wrote for my wife as a present, never intending for it to be a Styx song. 'Babe' was a demo. The demo became the hit record, including all the background vocals, which were done by me.

Unfortunately, 'How You Remind Me' is the song most perfectly suited to my voice.

I have always had problems with my voice, and the piano helped me believe the song could be bigger than my voice, and I could play with new melodies and things that I couldn't on guitar. It was easier to make the sound fuller and easier to get away with not being as good.

I treat every song like a different character. It is good that people recognise my voice instantly, but as an artiste, I always try and bring some variety with each of them.

There is a famous musician, Peter Gabriel, who has used my voice in the movie, 'The Last Temptation of Christ.' He used my song in the background.

I still believe that the voice as well as the body express a song together - that's my philosophy of performing a song.

I like 'Goodbye My Lover' because it's a really personal song and I recorded it in my landlady's bathroom in Los Angeles. She had a piano in there and for me listening back to it, it actually sounds like the voice I hear in my head. It's so close to what I can imagine.

A song is about heartbreak - but what are the constituent feelings? What are the aspects? There is anger, there is guilt, there are all these different things. I guess putting those voices into dialogue together just felt real.

I pick voices suitable for a particular song rendition and for that, it doesn't matter where they hail from.

There's a song called 'Slip To The Void,' which is fairly long and has more of an epic approach. And I guess for lack of a better term some people might throw the progressive tag on it. I don't know if it necessarily falls into that - a few people have brought that up who have heard it.

When it comes to best new artist or album or song of the year, yeah, it's very rare that you see someone in country win one of those. It's a very strong genre, and it's got roots so deep in our culture. I think the pool of voters listen more to pop and R&B and hip-hop. Those seem to be the major contenders.

The way to write really good songs is to write about the things that happen in your life and where you are in the moment, and writing about stuff that happens in your 30s is not the sexiest song subject.