A Quote by Tom Scholz
When I write a song and come up with an arrangement and a vocal part, it's always a challenge trying to find a singer who can interpret it sort of the way that I hear it, and it's a very difficult thing to do. I mean, singing is like playing an instrument - everybody does it a little bit different - singing maybe even more so.
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I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.
If you write a song, and you go into a restaurant, and there's a guy with a piano singing and he's playing piano, singing your song, or you hear it at a wedding or at an airport... it's fun!
I came from being a singer going into jazz. And that's one of the things that polio did for me is it took away my ability to sing with a range because it paralyzed my vocal chords, so that was when I started playing. But I hear the music as if I were singing even when I am playing.
I have my brain switched on and I might be thinking something else but we've come to an arrangement. That sort of play is maybe easier with someone who also thinks that way. But that is not necessarily a national thing, but maybe a little bit of a cultural thing.
Well painting is certainly my main thing. I will keep doing that for the rest of my life, but if I become famous I would maybe like to experiment with acting, or I have a good voice so maybe a little bit of singing. I'm going to take singing lessons, so who knows.
You start singing by singing what you hear. So everyone, when they first start singing, they naturally are singing like whatever they're hearing, because that's the only way you learned how to sing. So when I was growing up on Lauryn Hill, when I started singing her songs, I literally trained my voice to be able to do runs.
I hear a lot of people singing in funny voices and singing like they're stupid. Singing in a deliberately fey and dumb and childish way. And I find it to be a disturbing trend.
There was always, along the way in my career, as more and more I made marijuana a part of my act and my life, the more I'd hear from people saying, like, well, part of the reason that everybody likes it so much is because of the excitement of it not being legal. I always thought that was silly. Especially when it comes to smoking marijuana. People are certainly not less interested in it now that it's legal. In terms of comedy, it has kind of shifted a little bit in that it seems like the novelty has sort of worn off a little bit.
I'm completely happy not having children. I mean, everybody does not have to live in the same way. And as somebody said, "Everybody with a womb doesn't have to have a child any more than everybody with vocal cords has to be an opera singer."
Singing is a way of releasing an emotion that you sometimes can't portray when you're acting. And music moves your soul, so music is the source of the most intense emotions you can feel. When you hear a song and you're acting it's incredible. But when you're singing a song and you're acting it's even more incredible.
I'll never feel as comfortable singing as I do playing. The mandolin is my real voice. My actual voice is sort of my secondary voice, but I love to do it and I love giving people relief from playing with a little bit of singing.
It's always a blast playing the new stuff. But I feel like songs, in a way, are never finished. You get to a point where you're comfortable enough to put a stamp on it and send it out there, but even after recording it, when you're playing it live, you hear different harmonies, you hear different notes, you hear different tempos or peaks and valleys in the song.
I find it very difficult not to write in any sort of Sudanese style. With Sudanese music, there are very specific things that happen with the syncopation of the drums, melodies and stuff. And whenever I write, that's always the first thing that comes out, because I grew up listening to it. It's a part of me, so I try to bring that out in the music. I think that you have to be honest with what you do, and that's the most honest thing that I can do, is to write that way.
I'm trying to open up my range and really sing more. With The Fugees initially, and even with 'Miseducation,' it was very hip-hop - always a singing over beats. I don't think people have really heard me sing out. So if I do record again, perhaps it will have an expanded context. Where people can hear a bit more.
I am a moderately good singer. I am not a great singer but I can interpret a song, which I don't think is quite the same as singing it.
I make up stories in my head all the time, but I've never written them down. But I write a lot of story songs. Any song I'm singing, I sort of see it like a movie in my head. That's why a lot of times I close my eyes when I'm singing.
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