A Quote by Joel Selvin
Seskin has the gift of song...his voice has a natural lilt that can’t be learned. The combination of musicianship and repertoire make for a rich and satisfying musical experience.
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Peter stood, cleared his throat, and began to hum softly, then sing, slowly building up the song as his voice cleared. He found the old tune, the song of the Sunbird. And as he sung, as his rich voice echoed off the tall cliffs, the birds and the faeries lent him their voice and soon the tune drifted throughtout the garden.
I think it's his perception of knowing how to make a record build, keeping the integrity of the song in the music and really adding a lot of musical elements to compliment my voice and to compliment the song.
I was probably five years old or four years and I would listen to "White Christmas," and I just thought it was the most beautiful thing ever. The musicianship and his voice and the melody of that song; it's almost like I wish it wasn't a Christmas song because I wish that you were allowed to listen to it all year.
I don't think there's anything wrong with not knowing how to play an instrument, but the rise of the non-musical producer has done away with musicianship and focused attention purely on the song's hook.
I'm lucky because my repertoire is so specific, and theaters are interested in me singing my repertoire because it is not done so much. I'm pretty well settled in my repertoire. I like what I sing. My voice is high, and there is not much in baroque opera for higher tenor.
There's just a natural human element to a great song that feels immediately satisfying. I like the song to create a mood.
I've always felt that the quality of the voice is where the real content of a song lies. Words only suggest an experience, but the voice is that experience.
Communion with God as we hear his voice is rich. We receive his meanings; we submit to his authority; we grow by his power that is at work in our lives through his words; and we experience the glory of his personal presence as we hear him. These aspects go together, though we may sometimes be more conscious of one aspect.
When I think about Oz, when he was a teenager, I'm just reminded of what an excellent blues voice he had. He had a large voice. When we did the Aynsley Dunbar song 'Warning' and 'Black Sabbath,' his voice is so right. It's really round, and it has that pain from within in his voice.
I've got quite a low voice, so it's not your typical musical theater voice, but I do love musicals; they're a very different experience.
Fundamentally a good author has his or her own sense of style. There is a natural, deep voice, and that voice is present from the first draft of a manuscript. When he or she elaborates on the initial manuscript, it continues to strengthen and simplify that natural, deep voice.
The voice is certainly important and you can hear if it's beautiful or not, it's the gods who decide; it's more a question of what you do with the voice, which is the mysterious element. It's the personality behind the voice which makes the artist. The voice is a gift of God, but if you're not able to use this gift, what's left? Nothing but a beautiful voice, without nuance or color.
I liked his voice, rich and unself-conscious even when he forgot words and hummed to fill in the gap. What I didn't understand, I imagined, and thus it became a love song.
I'm not like Madonna. I haven't changed my lilt in my voice.
It's pretty clear I am a diehard Chris Cornell fan, so his voice, musicianship, and lyrics have touched me across many different projects.
Tobias Buckell combines old world with new in his novel CRYSTAL RAIN. While the rich cultures, drawn in part from Caribbean history and lore, echo a familiar landscape, he brings it out of the Earth milieu and into a bold new universe where technology and tradition collide. I enjoyed his colorful characters and musical use of language; his voice is fresh and entirely readable.
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