Quotes About Artistry

When I'm working on a Slipknot song, it's like a switch flips in my head. I can go there easily - it doesn't take a lot of soul searching - and it's a dark, almost sinister place. Stone Sour is more the way I've always written. It's a different tone.

I'm always inspired by other filmmakers, whether it's a shot or the way they handle tone.

I work really hard not to have a kitsch tone to any of my work, particularly radio stuff, which sometimes goes in that direction on certain programs.

At the end of the day, you, as the player, create the tone coming out of the amp. The gear is part of it but by no means all of it.

I love getting time to write a piece of music that can settle in and set the tone of the show.

With the fretless bass, you have a different tone and different sound, a different dynamic to the instrument, so you can really make it sing.

If you listen to the old Rock I always had one tone of rapping, but now I'm learning how to stretch out my voice and use it in different ways.

A great drum record has to sound good; in fact, it should sound special. It should capture the richness and the actual tones of the drums themselves, regardless of who is playing.

I don't deal in terminology, I deal with expressions: colors, shapes, tones, characteristics.

One of the things I do well - I think, anyway - is combining different tones.

I think it's really hard for me... to sing in English, because it's not my mother tongue.

I kind of have to bite my tongue sometimes with my lyrics.

'Tongue' is literally just one piece of the puzzle. This album is something I've worked on over the course of my entire career and something I've been discovering myself in it.

Even on the most serious ballads, I'll throw in a tongue-in-cheek remark.

That's the nice thing about being a live act. I can get the audience, but it's for the moment. It's like, 'Can I do it tonight?' And you can see when people like you. But on record - and with the pen - it's almost for all time. Really, a lot more thought has to go into it.

As long as Elton John can bring forth one performance per album on the order of 'Someone Saved My Life Tonight,' the chance remains that he will become something more than the great entertainer he already is and go on to make a lasting contribution to rock.

I did have my beginnings in doo-wop music; I had a group called the Tokens in Brooklyn. They went on, of course, to do 'The Lion Sleeps Tonight' and a lot of other great things. I went on as a soloist. But I still love doo-wop music.

Most of the time, it's pretending I'm somebody else to get into a different head space. A lot of times, it's just, 'Who do I want to be onstage tonight? Is it going to be Marc Bolan, or is it going to be Grace Jones, or Roy Orbison?'

I must say it was not very inspiring to see that tons of new bands emerged from nowhere and started to play the exact same music as I did. Why would I want to play this type of music, when tons of other bands did, too?

I mean there are tons of reasons. Well first of all. I write my own record. I don't take other people's materials. And I have a job which is being Willa Ford on top of getting back in the studio and writing and recording.

I grew up around the theatre. My mother is an actress. I would fall asleep on tons of theatre chairs. It's in my blood; it's in my spirit and my fabric of who I am.

I'm always looking for great songs, and not being much of a songwriter, I depend on great songwriters to send them to me. I go through tons of stuff, and sometimes you just find material that kind of fits and becomes something special.

I know I'm not the kind of music that's going to have tons of screaming fans, and I'm not gonna be everyone's cup of tea. I just want to do as good a job as I can.

I have tons of music stashed.