When I was on the air a lot my throat and vocal chords got tired. If you don't vary your tones you can't get pretty tired of your own voice.
After 10 years, I have been touring for 20, playing basically the same type of music, a four-piece or three-piece type of music with loud, crashing drums and screaming vocals. It gets to the point where you're looking for something new, and you don't want to do something that's way too left-field, for fear that it might seem contrived.
The original vocals had an awful lot of work put into them at the time, and I wasn't really sure that I could better them - I don't know if I have bettered them.
When I've produced a song, I try to record a vocal over it, and sometimes it becomes really hard. Sometimes I've already said a lot that I want to say within the production. The vocal is just adding to it, rather than it being a song.
I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there.
I do the work with friends who are musicians as well. I'm working on a piece of music and I have an idea of who I want on the vocals, but I don't really have a list.
Working on my own vocals is something I've been avoiding. But, I'm constantly thinking of ways to be able to include my own vocals without getting embarrassed. Even John Lennon wasn't comfortable on hearing his voice.
I like vocal word stuff. But I don't always write with an instrument, I usually write a capella. It's more like drawing in the air with your fingers. It's closest to the choreography of a bee. You're freer.
Some of the most vocal critics of the way things are being done are people who have done nothing themselves, and whose only contributions to society are their complaints and moral exhibitionism.
It saddens me that a historic event like this is being misconstrued by a small but vocal group of critics trying to spread the notion that the UN gathering is really the work of radicals and atheists bent on destroying our families.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
Amid the discords of this life, it is blessed to think of heaven, where God draws after him an everlasting train of music; for all thoughts are harmonious and all feelings vocal, and so there is round about his feet eternal melody.
Sometimes it's tough because I've got to sleep 15 hours to sing the way I want to. It's not easy because my vocal chords are different than most people's.
Michael Jackson carried urban America and eventually American society on his vocal cords for a good 25 to 30 years before even hip-hop became the vox populi of America, and then as an adult he shattered racial barriers.
As far as vocal preparation goes, it's really an interesting thing for such a fragile instrument and using it properly is like walking a tightrope. I have learned not to do extensive warm-ups. It's really more of a cerebral mind-body connection Zen hippy thing, just knowing your body and figuring out if I do that then I will be able to speak tomorrow.
I went down to London with the idea that I was going to do vocals over this crazy, crazy trip-hop digital beat. Within two or three months, I heard Hunky Dory by David Bowie and that changed me in one way, and I realized what I actually wanted was to have an E Street Band - individuals, not session musicians.
The first thing people look at with Four Seasons records is the vocals. But for me, the drum fills and rhythms are as much a part of it as anything. They're the base on which the harmonies were built.
Technology, publicity and sexuality have their place in music, but they are all subordinate to the pleasures and power of true vocal talent.
It does seem quite ironic to me that the very people who clearly have made no attempt to think for themselves are always the most vocal in demanding respect for their "ideas".
History teaches us that a given view has been abandoned in favor of another by all men, or by all competent men, or perhaps by only the most vocal men; it does not teach us whether the change was sound or whether the rejected view deserved to be rejected. Only an impartial analysis of the view in question, an analysis that is not dazzled by the victory or stunned by the defeat of the adherents of the view concerned - could teach us anything regarding the worth of the view and hence regarding the meaning of the historical change.
The fact that all our ape cousins - chimpanzees, gorillas and orangutans - can acquire signs - is powerful evidence that our hominid ancestors' first language was gestural and that the vocal version of language was a relatively recent development. My own guess is that vocal language began emerging about 200,000 years ago.
I could always hold a melody, but I was never like, I'm going to be a singer. So I'm able to use that when I write. I'm actually playing the beat with my voice. Instead of thinking about coming up with melodies, it's like filling in the instruments. So sometimes it's better to have beats with less melodies in them, because then I can play more with my vocals.
I don't ever remember being able to debate with my parents. Even though I thought of myself as a very bright kid, I couldn't be vocal in that way.
Voice acting is very different from live-action. You only have one tool to convey emotion. You can't sell a line with a look. It's all about your vocal instrument. Doing voice work is also great because you don't have to get your hair done, which I despise.
I want to make an album with just great beats and big vocals and just amazing lyrics.
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