Quotes About Vocals

I've been good at creating new textures and new fabrics, like vocal hocketing, or interlocking guitars, or suggesting new ideas for style... that's what the band has really excelled at.

I would say 'Bye Bye Love' is one of my favorite influential songs to this day, and ironically, they were so in sync with their harmonies that they sounded like one person. That approach to hearing and formulating harmonies stuck in my head, so when I joined the Eagles, my ear was trained to be able to hear a vocal that way.

I immediately recognised that Freddy's vocal chords bore an uncanny resemblance to mine - or vice-versa, I guess - and yeah, the rest is history.

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.

Being a mom makes it harder to find time to write and it gets harder to find time to sit down and do a vocal, because there's a baby behind you crying.

I try to be cognisant of when and how and what I eat and get as much rest as I possibly can, as that helps the vocal cords.

I prefer alkaline water. Good for the vocal cords, especially if you take it in the morning.

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.

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 used to sing at funeral homes for families that didn't have a vocalist. I didn't get paid. I needed to sing.

Often, when I work with a vocalist, I like to focus on the melodies first.

I strongly believe that Professor Longhair playing just instrumentals would be just as effective as stylized vocals; that's how much I believe in his music.

My whole goal in this industry nowadays is to keep doing the underground stuff, but to be able to add vocals that are sexy and underground.

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.

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 have a routine to work on my vocals. I always get some honey and some extra virgin olive oil to coat my throat, and I go to bed.

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.