A Quote by Glenn Danzig
The choruses are important for me. I want to say something, and sing-along is great.
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Usually if I want to just listen to something or sing along to something I'll put on some Gavin DeGraw or some Billy Joel. Occasionally, if I am feeling vocally in really great shape I will sing Jean Valjean's Soliloquy from LES MIZ or something.
Usually, if I want to just listen to something or sing along to something, I'll put on some Gavin DeGraw or some Billy Joel. Occasionally, if I am feeling vocally in really great shape, I will sing Jean Valjean's soliloquy from 'Les Miz' or something.
...and if you hear something you know, please sing along. No wait - I take that back - you can't sing along - this is about me now - this is my show.
Whenever I sing 'Total Eclipse of the Heart,' the way people sing along with me still excites me. It's one of the songs that audiences know all the lyrics to, and they sing along with me, and it makes me so happy. People also know my songs 'Holding out for a Hero' and 'Lost in France,' and this gives me so much joy on stage.
I want to write songs people can sing along to. I can think of nothing more exciting than travelling the world and playing to audiences and having them sing your words along with you.
I feel like I was always singing. Since I could speak, I could sing. It came very naturally. In school, I was always singing in choruses and choirs. I always loved to sing; it was something to fun to do.
I'm telling the story, and if I can't tell the story, I'm not going to sing it. And if I don't agree with the story, and if I got to sing something that portrays me as something I'm not, then I'm not going to sing it either. I didn't even want to sing Aretha Franklin's 'Chain of Fools.'
I'm fortunate in that I've grown up in a worshipping tradition which is quite rich musically (and music is very important to me) and has a wonderful resource of hymns from all sorts of different parts of the Church... and to go to church and be able to sing that stuff and listen to a Bach motet or indeed some charismatic choruses.
I danced in choruses from about 1959 to 1967, in 'Take Me Along,' 'Wildcat,' and 'Subways Are for Sleeping.'
I don't sing professionally; I sing because people who make my films want me to sing. So, as long as they want me to croon in the film, I will sing.
I love to sing 'Stay' every night... because people sing along. And they do sing along - loudly!
Growing up, I can remember singing along with my ma all of the time. I wouldn't say she necessarily 'taught' me how to sing, but she was definitely the first person to inspire me to sing and the first to intrigue me vocally. I've always had a natural ear for music, though.
I think what's important for myself and anyone else who wants to create a film, or art, is [to] make sure that they have something to say, that they want to share something important, express something important.
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 like hooks and choruses, things people can sing to.
I'm still learning every night, with every opportunity to write something, to sing something, to perform any work. Every opportunity to do these things brings me further along the journey, and the best part is, no matter how far along I go, I have so much more to learn.
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