A Quote by Harry Belafonte
You can cage the singer but not the song.
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At the end of the day, all people want to do is hear a great singer sing a great song. They don't care about what vocal changes it went through. You can't screw up a great song and a great singer.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
A great song can make a terrible singer sound good, but a good singer - you put a great song on top of that, you're really in great shape!
When I sing a pop song, I'm a pop singer. When I sing a country song, I'm a country singer. I've been very lucky to cross over, because by doing that, you can't be pigeonholed.
I'm not a folk or jazz singer, more a hard-edged pop singer - with some rock, and song hooks.
Imagine a dense forest full of tigers and you in a strong steel cage. Knowing that you are well protected by the cage, you watch the tigers fearlessly. Next, you find the tigers in the cage and yourself roaming about in the jungle. Last, the cage disappears and you ride the tigers!
Now any person who plays an acoustic guitar standing up on stage with a microphone is a folk singer. Some grandmother with a baby in her arms singing a 500-year-old song, well, she's not a folk singer, she's not on stage with a guitar and a microphone. No, she's just an old grandmother singing an old song. The term "folk singer" has gotten warped.
The singer alone does not make a song, there has to be someone who hears. -Broken Song
I am a moderately good singer. I am not a great singer but I can interpret a song, which I don't think is quite the same as singing it.
When a captive lion steps out of his cage, he comes into a wider world than the lion who has known only the wilds. While he was in captivity, there were only two worlds for him - the world of the cage, and the world outside the cage. Now he is free. He roars. He attacks people. He eats them. Yet he is not satisfied, for there is no third world that is neither the world of the cage nor the world outside the cage.
I don't think a good singer or a great singer is either of those things without a great song.
What is so important is that you play for the artist and for the record and for the song ... everything else falls into place ... my solo has to be a complement to the singer and the song.
I was known as a ballad singer who sang melodramatic heavily produced ballads. I'm not known as a mid-tempo singer who does fun songs. I'm not going to do a song like 'Dancing on the Ceiling.'
As an example, there is a Japanese composer / singer whose name is Tanimura [Shinji]: he has composed a song entitled entitled "Kazeno Komoriuta" and I have recorded my piano adaptation of this song and honestly I couldn't expect that it would be so difficult and challenging for me to perform my piano version of this beautiful song.
Putting out compilation records, buying the right to music is incredibly complicated. You have to find the writer of the song and the publisher of the song - not the singer - and make two separate deals.
I think it's fine for a singer to sing someone else's song. But the thing I don't like is when a singer that can write songs starts getting someone else to do it for them.
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