Quotes About Performance

I started taking vocal lessons, I always loved the challenge of playing my instrument and trying to sing.

I've always been a natural singer on stage and in the studio - never had a vocal lesson in my life.

I can do the vocal acrobatics but I really try not to. I've always been drawn to singers who sing it like it is, pure, straight down the line: Ella Fitzgerald, Patti Smith, Carole King. Simplicity is really important to me.

I've always been vocal in my matches, and I've always made a lot of noises, a lot of random noises.

Every night in 'Hairspray' we will be doing a vocal warmup, so I hope that will improve the muscles. It is a muscle, and we've not been using it - anybody that is on stage, that is.

Almost every time, if the vocal is really good, the band is almost always good too.

Seventy per cent humidity is ideal for vocal cords.

And singing is a physical thing - your vocal cords are these muscles.

If you go to the gym every day, it's not really good. Your muscles get fatigued. Your vocal cords are muscles - they get burned out, they get tired, so you've got to give them the chance to recover and repair during the night.

If you actually relax your vocal cords they actually work better.

If you listen to 'Paris,' when I'm up on the bridge part, it literally sounds like my vocal cords are being ripped apart.

When it's open and honest, that's when the real nature of who you are as a vocalist or as a performer, all of that stuff can finally start to become what it's supposed to be. Like a settling into yourself. It's not even a musical thing, it's a whole mindset, a whole acceptance of who you were supposed to be. Life sounds good.

In college, I was able to be the vocalist for the jazz band at Arkansas State.

We used to have a main female vocalist. But she had a baby. Now we do the singing ourselves.

With 'A Million Miles,' I still was proving myself as a writer and as a vocalist. It gave me the platform to tour again.

I want to grow as a vocalist, and I want to really kill every single show and just become better.

I make records from top to bottom. Bring the best out of the vocalist. I deal with live instrumentation on all our records.

When you think of rock and roll and metal, a lot of it is based around the riff. If you can sing over the riff and what the arrangements are going to be like, you have to leave space for what most people consider one of the most key essential parts, which is the vocalist.

I never called myself a jazz singer. I just call myself a vocalist because I love to sing all kinds of things.

The only thing I could do was play music, because I'd studied classical guitar, trumpet and piano at the American School in Alexandria. So I started out with two other boys in little clubs in Athens. I became a singer by default when our lead vocalist was late one night. Someone had to sing.

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.

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

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.