A Quote by Lia Ices
In every song, there is a vocal element that doesn't have any words. I wanted to play around with how emotive and expressive my voice could be.
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It [my vocal] didn't sound like what I wanted to hear; the vibrato isn't what I liked anymore. So I got myself to an ear, nose and throat guy who does a lot of work with singers, and I was hoping there was a big wart on my vocal cords or something and they could scrape it off and I could have the voice I wanted. But he said, "No, for 71, that's your voice."
The only problem I had on The Voice, was wishing that we, as artists, could have had a stronger opinion in our own song choices. At the end of the day, it's still a vocal competition show and you want to sing the song that showcases your voice the best.
In every culture, in every language, there is expressive play, expressive word play; there's language use to different purposes that we would call poetry.
'Fix' - definitely, when I first heard the demo of that song, it was kind of intimidating because of the high falsetto parts. It was one of those things. I got into the vocal booth and wasn't sure I could do it or how well I could do it. There was something about the song that I really took to.
I had more of a vocal range. If you wanted to play a keyboard song, like "Love Walks In," I can do it.
I think everyone has a story to tell. Part of what I do is help artists find their voice, not only their vocal voice, but their writing voice. Every artist that I worked with who has those records that everyone talks about, they are also writers. I like to say I helped support whatever their writing was so people heard the song clearly.
For Stevie, the words are of prime importance; the song moves around the words, rather than the words moving around the song.
When I realized I could write lyrics and let someone that I knew listen to them, but not know that the song was about them - say it was a girl. I could write this song about how I feel about this girl, I could play it to them. I just loved it, because all of the words would speak to them. I could see them slowly falling in love with me.
There's never been a culture without poetry in the history of the world. In every culture, in every language there is expressive play, expressive word play, there's language use to different purposes that we would call poetry.
It's one thing having a great song, but I think for me if you take it to the next level... say you had a guitar and a vocal, and the song was amazing but the vocalist wasn't that great and it just was a guitar and vocal acoustic track, switching that to something like an amazing voice singing the exact same song with the instrumentation being really nice and lush or unique in some way and interesting and diverse... I think it's all about the instrumentation and textures in the sound.
Especially with the live, just the way I curve words, it's about expression. It's so emotive, to be able to release these words into a mike. It really emphasizes this insane tingle down my spine whenever I play.
Over the years, humans have managed to incorporate nearly every element, light and weighty, common and obscure, into our daily lives. And given how small atoms are and how many of them there are all around us, it's almost certain that your body has at least brushed against an atom of every single natural element on the periodic table.
In every character you play, as much as you hate to admit it as an actor, but there's an element of you that you bring to it. Either the character helps you discover that element of you or the other way around, where that element of you helps you discover the character.
I have always had problems with my voice, and the piano helped me believe the song could be bigger than my voice, and I could play with new melodies and things that I couldn't on guitar. It was easier to make the sound fuller and easier to get away with not being as good.
Both my grandmothers had upright pianos, and I just knew how to play since I was a child. Nobody taught me. I sounded like a grown-up, and then I learned how to read music. I played so well by ear I could fool the teacher to believe I could play the notes. She'd make the mistake of playing the song once, and I could play it.
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
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