Quotes About Music

I had a galvanised voice: I could sing through a 105 fever or a flu or a root canal or anything that you could throw at me.

I had always sung, as far back as I can remember, for the pure love of it. My voice was contralto, and I sang in a church in Naples from fourteen till I was eighteen.

My dad always told me that anyone's voice is just another instrument added to the music.

As a vocalist, I can scream, and I've got a really good singing voice, but I can't do the really heavy vocals.

My father had the most amazing operatic voice, so I have a soft spot for that.

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

In childhood I developed a serious throat infection, and my heart stopped beating. I recovered from that illness with a voice that boomed forth like Kate Smith's!

When you set out to carry on a tradition as deep rooted as folk music is, you've got to have your story together. You've got to study and have a foundation. Jeffrey Foucault has that foundation, and you can hear it in his voice, and feel it in his music. He's got an understanding that you don't hear that often.

When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.

There is no gender to my music. There's no male or female voice, no trite lyrics or poetry. It's much more abstract, so it lives with you longer.

My voice is obviously real southern - I automatically lean country.

When I had my first voice lesson I was 15 years old. And I had a really good teacher. This is what made all the difference. A good teacher will teach you the technique, but also how to listen to your voice.

Cat Stevens' music, voice, and energy made me feel so secure. He sounded different from some of the paternal figures in my life, so gentle and kind.

Grandma Holly told me at three years old that I had a voice of an angel, and I just never stopped singing.

I never made it to the school choir because the music teacher didn't like my voice. I was pretty sad. But he was probably right; I did have a voice a bit like a goat, but my dad told me to never give up and to keep going, and it's paid off.

To sing opera, one needs two things: the voice and the passion - and above all, the passion.

I have dyslexia, and I never did learn to read music, and I even had a problem in reading because everything was turned upside down, so I just had to draw from the lyrics and the voice that I would hear in my mind.

It's my luck to be at the frontier of what looks to be a resurrection of roots music on the international scene. That's really what reggae music is about: that voice against oppression and struggle.

I always say the person who taught me how to sing indirectly because I listened to her all the time was Brandy. I fell in love with her voice when I was six years old. I always loved Brandy.

Cee Lo - to me, his voice is classic; I've personally said to him before, 'For me, your voice is as special as a Michael Jackson vocal,' because of what he can do, his range. I said that to him, and I mean that.

Rihanna's voice is just delicious for your ear. Sinatra had the same thing; anything he sang sounded pleasing to most people.

The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.

It's something that I've always done. I started singing when I was four years old; that was the first time I took a voice lesson. I would say, maybe from five years on, I sang on stages constantly. That's what I call my natural habitat: It's a place where I feel most like myself and the most confident, the most excited.

Ironically, being a coach on 'The Voice' and spending time with those kids, Xenia and Dia especially, I learned a lot about myself. It reminded me how lucky I am that this happened for me, and it kind of lit the spark inside me again for my love of music.