Quotes About Music

When we talk about my music, it's a cross between Tina Turner, Alanis Morrisette, and Diana Ross. It's the glamour and the showiness of Diana Ross; the ferociousness and pain of Tina Turner; and the vocals of Alanis.

A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.

I feel that in the underground world, there's not enough vocals out there.

I felt that group vocals for 'Airplane' coming from all the BTS members who've been together through this journey would create an even more heartfelt song.

Pat Simmons and I always had a great blend together. We did the background vocals on a Little Feat track called 'Red Streamliner,' and that was great fun. I always really loved the way it turned out.

Cyndi Lauper's 'Time After Time' was a perfect song. It was so beautiful and so heartfelt. Her vocals were so amazing. And, for me, that was a song I went to when I was feeling sad and wanted to feel even sadder.

I got into punk at 17 after discovering an all-girl band from Long Island on the Internet called The Devotchkas - four crazy-looking girls with fast, driving basslines and high-pitched gang vocals who shared the same dress sense as the punks I used to eye up curiously in Camden.

I want to make an album with just great beats and big vocals and just amazing lyrics.

I'd gotten used to recording background vocals perfectly, doing 18 takes of them until they line up. Not recognizing the inherent beauty in each performance, but just making something good.

It's like a painter with various layers of paint. I start with a drum loop and add keyboards, and then melodies start to take shape. The vocals happen later. I've never really done therapy before, but it's a form of therapy. Everything else falls away.

When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.

The Faith No More stuff isn't about me. It was a band. Maybe that's where a lot of journalists got the wrong idea. You don't just pluck a song off a tree and put vocals on it.

My training has been in Hindustani classical, and I have done a six-week course in English vocals at Berklee. The holistic learning has helped me a lot.

I can do some vocals in England; I can come across to LA You can do various versions - replace this, replace that. You can use software that almost makes the record for you.

The vocals are what immediately draw people in and sell the song.

With its breezy guitars and sweet backing vocals, 'Norway' blows away any semblance of Beach House's previously bleak approach to pop.

I grew up writing songs in my room on GarageBand, and I would make the beats just out of layering my vocals over and over again. Very Imogen Heap-inspired.

My inspiration is R. Kelly, Michael Jackson, and Prince - for the vocals, anyway.

When I listen to the radio, I just hear so much music that doesn't even sound like people. The vocals are all tuned, and the drums are all fake.

The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals?

When making the first album, I think I wrote a song about every six months. The first album was so much about the vocals carrying it.

I always layer my vocals a lot. I sing a minimum of three layers of the same line every time, and then it's always one or two or sometimes even more harmonies.

Back in the day, I was afraid to speak out. When I get music behind me, it feels like I can soothe the hurt and put it in vocals and say it to the room the way I feel it.

I live for playing live. All my records are live, since After the Gold Rush, with the exception of Trans and the vocals on Landing on Water.