A Quote by Blueface
I didn't know what kind of sound I wanted to make. I didn't have no influences. I just heard my voice in the microphone and was like, damn, I like that.
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As far as entertainers, I know I'll sound like a cliché but they don't make 'em, like they use to. Barbra Streisand is one of them, also Frank Sinatra and Tony Bennett. The first theater voice I heard on a record was Ethel Merman and again, they just don't make them like that anymore.
Well, obviously I wanted it to sound as original as possible. I suppose the influences that we had were probably from the actual power point of view we wanted to be like the Who. Vocally we wanted to be like the Beach Boys, whatever was good at the time.
He’s speaking in the tone of voice that everyone uses when they’re about to break you apart. Gentle—kind, even—like they can make the news sound better just by speaking in a lullaby voice.
I always wanted to make sure that I was honest to myself and that people wanted to hear an opinion that was authentic... I wanted Man Repeller to be a voice for women who felt like they didn't have a voice or for women who didn't know how to express their voice.
I kind of always wanted my own music to just sound like, like me, I suppose, like if I was music it would be the music I make, I think.
I like to make my voice sound like a piece of tin that's been stuck on the side of a chair, lifted up as far as it would go and then let to spring - "doooiiinng." I like to make it into a piece of metal from time to time and I can do it, both with the movements in my throat and with, uh, my little toys... So I like to take it beyond just a voice, more into the realms of a weapon.
Trying to make your own sound is hard. When I was producing for other artists, I could just produce and write songs as a normal songwriter, and almost make them generic. The artists themselves, whoever is singing that song, can put their own twist on it. When it came to my own material, I had to really dig deep, because I was just writing generic stuff. It sounded like everybody else, like Justin Timberlake, like Usher. I never wanted to sound like someone, that's when you know it's not going to work.
The reason I wanted to become an organ player was because I heard Ray Charles play on Quincy Jones' arrangement of "One Mint Julep." I heard that sound, and it just struck me. I thought that's what I want to do with my life. That's the sound I want to try to make.
For any producer I've ever worked with, their toughest job is to convince me to not to obscure my vocals. A lot of people don't like the sound of their own voice on, like, cassette tape or something. It's like that for me, and other songwriters I know. Like, "Oh God, that's what I sound like?"
When I was coming up in Miami, the music in the city at the time sounded completely different. I loved it, but it just wasn't the type of music I wanted to make. I wanted my wordplay to be more sophisticated. I wanted the sound to be more lush. I wanted my music to sound like who I was and aspired to be - boss.
I just wanted to be a songwriter. I did really not like the sound of my own voice.
I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff.
We went into that knowing that we were never going to sell a major record 'cause we didn't sound like these bands, so I just thought this was an opportunity for us to make the kind of records that we wanted and make some money at the same time.
I hate the sound of my own voice. It's just up there, sort of naked and exposed. Live is hard, because on my records, I play almost everything on a lot of stuff. In a live situation, I can't control everything. I use two different microphones. One is just clean, traditional sound, and the other one is basically a cheap cassette-recorder microphone that goes through a distortion box to emulate my voice on the record. That helps some.
There's two or three kids out there trying to make good music, and the rest of them sound like it's been strained through some kind of white toast or something. It all sounds just too neat and perfect, with no surprise to it at all. No story, no nothing. It's like building cars, like an assembly line. It doesn't sound like anything that came from a guitar.
A cello can sound like so many instruments, but it's only one, you know, like a guitar; it has percussive qualities. It can sing like the violin, you know, like a voice.
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