A Quote by Elliott Smith
It was hard to sing like how I wanted to because playing live I had to just be at the top of my lungs all the time, and it made me sound like I had a really bad cold or something.
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Classical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.
When we recorded the song I Just Can't Stop Loving You, my vocal range is a little higher than Michael's range. He had me re-sing the demo in the new key. Then doing that he filmed me singing this demo in the new key. I actually said, "What are you doing? Why are you filming this?" He said to me, "Because I want to sing it like you. You sound so great and I want to sing it just like you." I said, "Oh, great, Mike, my friends are really going to believe me when I tell them that Michael Jackson wanted to sing this song just like me." We laughed about that.
I think there's an attitude these days that you can go straight from a studio to the stage, and it isn't really like that. But playing live was the most important thing for me at the start because whenever I recorded something, it didn't sound right; I didn't like how my voice sounded. It was just raw.
He gave me a lot of confidence because he said he liked my way of playing football. He said I was a person he really wanted to have in his squad. Something like that is always good to hear. It made me happy, especially as it came from such a great trainer like Jurgen Klopp. He showed how good he is at Dortmund with all the success he had.
The first beat that I ever made that I thought was actually worth a damn was called 'Toilet Paper Nostrils,' and I made it when I had a cold. I had the worst cold ever. And I had toilet-paper nostrils making music, but it was really reflective of how I felt. It was a really sad trumpet sound.
Growing up and playing guitar with my dad and stuff like really influenced me. It definitely must've had an impact on why Miley wanted to sing and why I wanted to sing and play guitar as well.
In the beginning, for the first English record it was really hard for me because I'm a perfectionist and I really wanted it to sound natural and not like a German who tries to sing in English.
When I first had a child, I really had a hard time trying to figure out how it was all going to fit together. Because I felt like, when I was with him, I wanted to be writing and I should be writing. And when I was writing, I felt like I should be with him, and wanted to be with him. So I was unhappy a lot.
I tried to tell them about the dating process because I'm single now and how horrible it is and how many foolish experiences I had had dating. So I was really selling him hard, but the whole time he really wanted me!
I've always wanted to be a voice actor. Well I think at first I wanted to be a singer. Then in middle school I auditioned for a musical and I only really cared because I wanted to sing in it. I had to act as well as part of the audition and that was the first time I ever really acted, and I was like 'Oh hey, this is fun, I like doing this.'
After I had my daughter, I kind of got comfortable with motherhood and had time to focus on something else then I started "Sailing Souls" with Fisticuffs, who produced the majority of the mixtape. I just wanted to put out something, like it wasnt really for, you know exposure or to get a deal or really anything like that.
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.
In anything I've ever written, all the characters sound like me, which I don't think is a bad thing. It makes sense. But I had always admired filmmakers who made movies that didn't sound like them at all.
If I was having a bad day, or if something was really getting me down -- boy troubles, whatever -- I wanted to go out and get a new piercing. It was definitely a release for me. Something that made me feel a little more strong or empowered. Because it was something that had to do with me and no one else.
I never really ate that bad, I just ate too much. It wasn't like I had to switch to whole wheat bread or something like that. I really just had to eat less of what I was eating, and I had to exercise more.
It was hard at school because, growing up, some people wanted to be friends with me just because they wanted to get to my dad and say that they had met him and had gone to our house. I didn't understand it at the time, but the older I got and the more aware of it I became, it started becoming hard.
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