A Quote by Benjamin Booker
Blind Willie Johnson is a pretty big vocal influence. He can be very harsh, like gargly, gruff vocals, but also just slip into some very delicate, vulnerable soft stuff. I like that combination.
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When we too are armed and trained, we can convince men that we have hands, feet, and a heart like yours; and although we may be delicate and soft, some men who are delicate are also strong; and others, coarse and harsh, are cowards. Women have not yet realized this, for if they should decide to do so, they would be able to fight you until death; and to prove that I speak the truth, amongst so many women, I will be the first to act, setting an example for them to follow. —Veronica Franco 1546-1591
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.
Maybe I was just born with a little bit of vocals or natural talent, but I feel like I taught myself. I just started taking vocal lessons to just work on my breathing, my vowels and stuff.
My dad was a soul fan and a singer himself, and he loved vocal harmony, stuff like the Beach Boys and Motown like the Four Tops, which was a big influence on me.
My heroes were gospel blues players like Blind Willie Johnson, Charley Patton, and Sister Rosetta Tharpe, not whoever was number one.
I'm stunned at some of the stuff Johnny Miller comes out with sometimes. He is very harsh and frankly I find some of the stuff he sees very disrespectful.
The comparison to Willie Beamen - that was pretty harsh, but everything happens for a reason and like I said, you can't control it.
I can be pretty harsh and judgmental. I'm a very harsh and judgmental person. I like morals, right and wrong. I like to see things in black-and-white when I can, so I will hold a lot of guys to an impossible standard.
In any big spectacular, it's really difficult to have enough voices to cover all the vocal parts. To give the audience the complete experience they're expecting, there is some reinforcement, some playback that everybody's hearing. Sometimes it's background vocals, but sometimes it will be actually vocal tracks. It's so hard to ensure, with no safety net ... you're not gonna get another shot at it, you have to have stability. I think it's very naïve of a lot of people to think that when you see someone open their mouth, they're really singing.
There's some people who are just very dynamic about social life, and it can be some pretty crazy stuff, but you end up meeting people you like.
The Broadway audiences are very vocal and seem very engaged. For certain shows, especially with a show like 'The Heiress,' the audience's reactions sound like 'The Jerry Springer Show' sometimes. That seems to be a very New York thing. Oh, there's also the entrance round of applause here, which we don't get too much in London.
I grew up listening to spiritual music, Blind Willie Johnson and folk.
My ears are open to all sorts of stuff. I appreciate some of the big electro house guys.I love their music but I also like a lot of the stuff coming out of the U.K. Future garage stuff. A lot of stuff like that.
True to their history, the English are very domineering and have manipulated it in different ways. I wouldn't say that there was an original, but there is a lot of expurgation in some of the Victorian translations, and there's a lot of additional salacious nonsense in some of them, too. I also like the early French one, much-derided for being fanciful but which is actually very elegantly done. It's very big, very capacious.
Very difficult to understand American audience, what they like, what they don't like. Some movie I like very much, it doesn't work. Some movie I don't like, it gets big box office. Very difficult.
We like the John Gruber model - he writes some long stuff that's very thoughtful and analytical, and then other stuff, he just adds a bit of commentary. I like that.
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