A Quote by Juliana Hatfield
Harmonies come really naturally to me. I don't have to labor too hard over them. I'll sing a lead vocal, and then I will immediately have all of these other ideas for vocal harmonies. I think that some of the most fun parts of recording, for me, are the vocal harmonies.
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The inspiration for our vocal harmonies was sort of Appalachian. It's sort of at weird intervals, and it almost has an Appalachian kind of feel to it. The harmonies were really spontaneous. And the way we jammed, we would just get into a trance.
I would say 'Bye Bye Love' is one of my favorite influential songs to this day, and ironically, they were so in sync with their harmonies that they sounded like one person. That approach to hearing and formulating harmonies stuck in my head, so when I joined the Eagles, my ear was trained to be able to hear a vocal that way.
The bass line is the anchor for me. I started with the bass, and either doubled that and then added the harmonies, or sometimes added my own harmonies that I've always wanted to sing on the song. And then it just went on from there - singing violin parts and trumpet parts and just trying to emulate the sounds of the instruments.
Sometimes, after I finish the lyrics and have all the melodies and harmonies and the pop and vocal, I'll be like, 'I have to keep it. I love it too much.'
Everything we do is different like we have photoshoots, then video shoots, rehearsals, vocal warm up days, learning all the different harmonies then we have recording days. Every day is different.
Our vocal harmonies started to feel like a cop-out: all group-singing, all the time.
Holiday Shores' ambition far exceeds its members' recording budget. The band's boyish vocal harmonies wash in and out with the tide, and reverb radiates from the guitars like heat off a sun-baked parking lot.
I don't like to plan harmonies too much, because there's something fun that happens when you just sing a pass, then sing another pass, and layer them on top of each other.
Our music is an answer to the early Seventies when artsy people with big egos would do vocal harmonies and play long guitar solos and get called geniuses.
I don't dictate the solos and I don't dictate the vocal harmonies.
In any big spectacular, it's really difficult to have enough voices to cover all the vocal parts. To give the audience the complete experience they're expecting, there is some reinforcement, some playback that everybody's hearing. Sometimes it's background vocals, but sometimes it will be actually vocal tracks. It's so hard to ensure, with no safety net ... you're not gonna get another shot at it, you have to have stability. I think it's very naïve of a lot of people to think that when you see someone open their mouth, they're really singing.
It's important to be vocal, and to be fair, I've always had that in me, to be honest. One of the things my dad has always said to me is make sure you're vocal, and before the game, I always get a text off him telling me to do the things well and again, 'Be vocal, Dec.'
La solitude re tablit aussi bien les harmonies du corps que celles de l'a" me. Solitude restores the harmonies of the body no less than those of the soul.
I had this big thing about guitar harmonies. I wanted to be the first to put proper three-part harmonies onto a record. That was an achievement.
The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.
I sing both in my shower and in my car, mostly in my car, because I have this weird thing - whenever I'm singing to the radio - my friends kind of hate it - but I pick out the harmonies in my head, and I'm singing the harmonies to the tracks and I'm jamming it out.
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