A Quote by Taylor Momsen
I think Robert Plant is the quintessential frontman - just the way he moves. His voice is superhuman.
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What always attracted me to [Bob] Dylan, and what has sustained me as a Dylan listener, or has always continued to surprise me, is his voice, the way he sings, the way he wraps his voice around certain words, the way he backs off from melodic moments, the way he moves forward to grab something in a song that, were anybody else performing it, they would have no idea it was even there.
I'm a piano player. I never thought of myself as a singer, at all. I was always trying to sound like somebody else. I don't like my own voice, I like Ray Charles, Robert Plant, I like Joe Cocker, Rod Stewart, people that have an edge in their voice.
You watch some of the stuff Cesaro does in the ring; with his size, the way he moves around the ring, the moves he hits, the way he picks up guys twice his size. It's just a different level.
I'm not a big fan of Robert Plant's lyrics or his singing.
When I think about Oz, when he was a teenager, I'm just reminded of what an excellent blues voice he had. He had a large voice. When we did the Aynsley Dunbar song 'Warning' and 'Black Sabbath,' his voice is so right. It's really round, and it has that pain from within in his voice.
I love 'Jaws,' and I think Robert Shaw's performance in 'Jaws' is one of the best screen performances of all time. I am a massive Robert Shaw fan. I think he's a brilliant, brilliant talent and we lost him way before his time.
When fans come to me, and they say, 'You're my favorite singer in rock music,' and I go, 'What about Steven Tyler?' 'No, I like you better.' 'What about Robert Plant?' 'I like you better.' That's kind of weird to me, because I'm like, 'No, dude - Steven Tyler and Robert Plant are gods.'
There's something in the rhythm and roll of it that is connected to the way Hitchcock thinks and moves. Then there is everything he ingested - the cigar smoking and drinking that's imprinted on his voice.
One of the reasons Batman works as a character is that it's not beyond possibility that he could exist - you could become Batman if you had a billion dollars at your disposal. There's nothing paranormal or superhuman or supernatural about that character. And I think his villains work the same way. You could be one of his villains just as easily.
What do we plant when we plant a tree?
A thousand things that we daily see,
We plant the spire that out-towers the crag,
We plant the staff for our country's flag;
We plant the shade from the hot sun free,
We plant all these when we plant the tree.
There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.
Robert Plant, Kenny Chesney, Mavis Staples, Taj Mahal, this incredible array of folks, all taught me a way to carry yourself with dignity.
And then, just as Wilbur was settling down for his morning nap, he heard again the thin voice that had addressed him the night before. "Salutations!" said the voice. Wilbur jumped to his feet. "Salu-what?" he cried. "Salutations!" repeated the voice. "What are they, and where are you?" screamed Wilbur. "Please, please, tell me where you are. And what are salutations?" "Salutations are greetings," said the voice. "When I say 'salutations,' it's just my fancy way of saying hello or good morning.
What do we plant when we plant the tree? We plant the ship that will cross the sea, we plant the mast to carry the sails, we plant the planks to withstand the gales--the keel, the keelson, and beam and knee--we plant the ship when we plant the tree.
If you plant for a season, plant budgets. If you plant for a decade, plant reorganization, If you plant for a century, plant people
I think of Gord Downie voice as Whitman-esque. He has a poetic voice that contains multitudes, both the suppleness of the instrument of his voice, and just the lyrical boundaries that he pushes, which are really always thrilling to me.
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