Quotes About Vocals

Intermittently in my concert format, I sing a little jazz, a little scatting.

I wanted to emulate Bob Flanagan, the high voice in the 'Four Freshmen.' I wanted to sing high like he did.

The hits always wind up being the songs with big, high choruses. They're the ones too high to sing every night - not that you'll ever, ever hear me complain about having to try.

Singing is all about certain inflection on certain lines. I used to listen to tapes of everybody from Michael Jackson and Prince to Earth, Wind and Fire. They would have different vocal inflections. If the line insinuated pain, they would cringe on some lines.

In the studio you can auto tune vocals, and with drums, you can put them on a grid and make them perfect. I hate that sound. When someone hands me a record and the drums are perfectly gridded and the vocals are perfectly auto tuned, I throw it out the window. I have no interest in rock music being like that.

For me, the moment the mic is on and it's rolling, it's impossible to vocally relax for some reason. But one day, I'm going to be able to sing the way I sang when I was a little kid, completely open and free. That's, I think, the one thing that's changed: Growing older, I'm not ashamed to hear my voice.

The only thing I miss on stage is the falsetto.

What people would qualify as R&B is, for me, just soul. And I love honesty and soul and heavy, crunchy beats that move you and make you breathe a little bit faster.

Call me the Scatman. I do quite a bit of scattin'.

I think it's a given that people know what I can do vocally.

I know some of those 'Glee' people, and they can really sing! I wish we could hear them live, because I know some of them and they can really sing like nobody's business.

People don't realise how much energy it takes to sing and hit all those high notes - but I always feel like I've done a marathon.

Both my kids like Adele, and I gotta say, the girl can sing.

We do a cover of Charlie Puth's 'Attention' that I really, really love and I think really grooves.

Vocally, I don't think analogue makes that much difference, but with guitars, it definitely makes some difference. With drums and bass, absolutely.

I usually prepare a track and then I work with the artist when it's time to do the vocals.

I am singing a genre of music that people are very protective of. I am being compared to the greatest vocalist of all time.

With new artists, you really don't have anything to reference. You're helping to develop their sound, define who they are vocally.

I don't feel like singing should be taken lightly. It's one of the hardest things I've ever done, but it's coming along.

Harmonies are nice.

Harmony singing is my favorite thing to do in music!

Brenda did some little vocal arrangements for us and she got to sing as well. So, we're happy to be able to work together and that's another reason why we look forward to doing more of these.

Later on, when I signed with Sony, we wanted to re-release 'Fade' as 'Faded' with a brand new mix and with vocals by Iselin Solheim. I think Iselin was the first person who sung demo vocals for 'Faded.' And it worked out great! The way I got in touch with Iselin was through a guy that I work with in the studio.

Once upon a time, I could sing three hours. Now, when you see me say 'I'm done,' I'm done; ain't nothing left till the next night.