A Quote by Alissa White-Gluz

I do guest vocals all the time. — © Alissa White-Gluz
I do guest vocals all the time.
There are a lot of people using technology that are playing to a click with backing vocals already stuck in there on some computerized thing that runs along in time to the show so they have these amazing vocals that are only partly the guys on stage producing them at the time.
I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.
As far as favorite 'overall package' record of all time, I'd have to say 'My Girl' by The Temptations. I like everything about it, not only the composition - but the arrangement, the production, the lead vocals, the background vocals, the horns, the strings. That one I listen to over and over again.
An Albanian’s house is the dwelling of God and the guest.’ Of God and the guest, you see. So before it is the house of its master, it is the house of one’s guest. The guest, in an Albanian’s life, represents the supreme ethical category, more important than blood relations. One may pardon the man who spills the blood of one’s father or of one’s son, but never the blood of a guest.
When someone stays with you and they're not your guest, even when they are your guest they get on your nerves. When people visit for long periods of time, that just happens.
The truly essential bargain between host and guest requires the guest only to respond promptly, show up on time, socialize with other guests, thank the host, write additional thanks and reciprocate. You needn't bring anything.
It's a particular skill, I think, doing backing vocals. You're blending the vocals between the gaps, between the music.
The vocals are the very last thing I do. So, it's kinda the opposite: with country. it's singing and guitar first, but with rock, I worry about the riff and music, vocals last.
If the guests want to wrest the check away from the host, because the host is also the guest of honor, then the guest who volunteers has to cover the whole thing. A guest can't volunteer -all- of the guests to pay for the host/honoree.
I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.
I ended up living at OJ's because Nicole bought a home that no longer had a guest house. OJ offered his guest house to me. Anybody in LA looking for a place knows the best places to live are guest houses.
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.
But also, the guest workers program, it's quite often misused, meaning people could come in as part of a guest workers program and after two weeks in the fields, they'd run off to do every other kind of job that isn't covered by a guest workers program.
There are a lot of people who dream of overnight success, of being Brad Pitt getting discovered for 'Thelma and Louise,' but that doesn't always happen. I represent that stick-to-it-ness that it takes to build a career over time, guest spot by guest spot. Looking back from here, I wouldn't have wanted the journey to go any other way.
I used to put the vocals on top and piece it together. Now I start with the vocals and the string parts I write; the drums are kind of an afterthought. And who knows, maybe that will get boring, but right now that's the most interesting way for me.
I had my one guest star on The Flash, and that became several guest stars, and then they mentioned this new show.
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