Top 262 Vocals Quotes & Sayings - Page 3

The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals? It's very stuck, whereas with electronic music, new sounds are being created.

One of the goals we had when making 'Moth' was to have the vocals sound less treated and less processed than we'd ever had before, to just let them be exposed and very audible.

I fancied being a lead singer. I've always done a lot of vocals, but obviously, Freddie is the lead singer.

It was a song I wrote for my wife as a present, never intending for it to be a Styx song. 'Babe' was a demo. The demo became the hit record, including all the background vocals, which were done by me.

I guess I'm not really into female vocals that sound masculine, I guess. A lot of times, the heavy female vocalists always end up sounding like they're screaming or whatever.

There's a lot of trickery that can go on in the studio, and there's a lot that one can do - none of which I am interested in even slightly. I mean, you can actually tune vocals and stuff like that, but it's so hideous, I can't believe it.

You get some confidence in your songwriting abilities and go for the essentials - guitar, bass, drums, vocals. Those are the basic band essentials that have to be in place before you go any further.

I dont think anything we've ever done has ever sounded the same. But we have that same vibe whatever we do because of our vocals.

I don't think it's important to be that good at singing. I think people who are good at singing sing backing vocals for pop stars. It's about how you project. I wouldn't consider myself to be a singer.

When I go back to seek inspiration - whether it be from Chuck Berry, Howlin' Wolf, the Beatles, Hank Williams, Ray Charles or Bob Dylan - it's from the performance. Those artists are in the studio playing their instrument and singing. There's no going back and redoing the vocals.

It's great, because we've had some really great people playing with us who really have studied the record and been able to recreate a lot of what was done. But I would need a choir of eight, probably, to do all of the backup vocals.

I don't try to make one thing. I really try to experiment, even if its just the vocals or the beat. I can't really describe my sound.

Blind Willie Johnson is a pretty big vocal influence. He can be very harsh, like gargly, gruff vocals, but also just slip into some very delicate, vulnerable soft stuff. I like that combination.

I don't think I'm a singer that likes to flex my vocals. I'll do some runs and a bunch of high notes, but that's it. I really pride myself and I really work on just trying to sing. Like emotions. Just using my voice, not doing anything extra.

You want to go in the steam bath to get your vocals sounding well, but you don't want your fingers to get soft.

Musicians like James Blake were a big influence on me. How he uses his vocals is amazing. And then Yeasayer and Animal Collective, who aren't pop bands exactly, but they do something that is so catchy and undeniable and so much fun.

Pat Simmons and I always had a great blend together. We did the background vocals on a Little Feat track called 'Red Streamliner,' and that was great fun. I always really loved the way it turned out.

A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.

I think that I've gotten a lot more relaxed, and I know how to go about getting a sound now. I know what to do to get the vibe right. As an example, when I'm doing vocals, I don't have six guys sitting out there in the control room, messing around, making faces.

I've always wanted my music to have that desperation, where you just want to strip your clothes off and run down the highway. I want the feeling where you don't really know what to do with yourself - in the vocals, in the production. Everything.

Along with 'Free,' where I sing quite a bit, there are additional songs on 'Skin' where you can hear my voice in the background - lots of 'oohs' and 'aahs.' But more often than not, I use my vocals to prompt other rappers and singers to feel calmer, better, bolder.

I'm very much of that old-school mentality of believing that if it works with an acoustic guitar and a vocal, then it should work within any format - and especially when most of my live work is just guitar and vocals, so it really does have to work with only that.

When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.

Our bassist, Tim Staffell, was at art college with Frederick Bulsara, who changed his name to Freddie Mercury and joined the band on vocals after Tim left in 1970.

I grew up writing songs in my room on GarageBand, and I would make the beats just out of layering my vocals over and over again. Very Imogen Heap-inspired.

Upwell is one of the most terrifyingly great bands I have ever known out of Seattle. Their musicianship and songwriting is monstrous... They're heavy like Soundgarden or Zeppelin with killer female vocals, but with their own unique style.

I don't believe that recordings should sound radically better than the artist, I think that's dishonest. For example, I'm not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don't, what you hear is pretty much what I sing.

A lot of the album is made of love songs I've written over the past three or four years that have lasted the test of time. It's probably the thing that connects the songs together other than the sound of my vocals.

I strongly believe that Professor Longhair playing just instrumentals would be just as effective as stylized vocals; that's how much I believe in his music.

I remember when I would write a song as a kid, I would also write out on paper what the drums would do, what the bass would do, and what the vocals would be doing.

I like adding little elements into the final mix. I'm more fond of the '70s glam than '80s. I have that style of vocals... there are a lot of pop artists who are using the glam vibe in their music. I'm part of that wave.

There's definitely anger, the demand of more from the world, a demand for justice. There's no other way I can perform the vocals than the way you hear them. It's not just the words, it's what is being felt.

I think I'm a vocal genius, not a musical genius. I like background vocals. I consider myself a voice, not a singer. A voice is a sound, and singing is what you do with that sound.

Background vocals during her song "I Hope You Dance" .....'Time is a wheel in constant motion always, rolling us along. Tell me who wants to look back on their years and wonder, where those years have gone.'

Maybe I was just born with a little bit of vocals or natural talent, but I feel like I taught myself. I just started taking vocal lessons to just work on my breathing, my vowels and stuff.

Oh man, I love what the South brings as far as the soul, and I really have noticed from even the early days of listening to OutKast and Goodie Mob that Atlanta and the South has a diverse sound to it. You have bounce music. You have soulful musicians. You have artists with vocals who try to do different things.

When you do a remix, obviously you get a beautiful melody, you get the beautiful vocals - everything is already set up. You already have a base, which means all I gotta to do is create the music behind, 'cuz it's already beautiful.

Before getting on 'The Voice,' I was very critical and judgmental of people's vocals. After getting on the show, I was so nervous, I realized my low notes were gone, so nerves do take a big toll on your voice.

It was fine at the start but there's always politics in any band. It just happened that I always got more vocals than everybody else, so in terms of people wanting their voice heard, that wasn't happening. It made people, very bitter.

I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.

'Lemonade' is made out of bubbling, fizzing, popping, and 'Hard' is made from metal and latex - they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples.

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 get to play with pop music and mix up the style. It's fun to play with party music and nice to get into the club. My big love is songwriting. I write the lyrics and the vocals, and I work with the producers.

I always layer my vocals a lot. I sing a minimum of three layers of the same line every time, and then it's always one or two or sometimes even more harmonies.

The original vocals had an awful lot of work put into them at the time, and I wasn't really sure that I could better them - I don't know if I have bettered them.

In my own studio, I can just lock the door and record myself, do layers of vocals not knowing how they are going to turn out, and just scrap it if it doesn't work. It's my space. I'm running everything.

Cyndi Lauper's 'Time After Time' was a perfect song. It was so beautiful and so heartfelt. Her vocals were so amazing. And, for me, that was a song I went to when I was feeling sad and wanted to feel even sadder.

When making the first album, I think I wrote a song about every six months. The first album was so much about the vocals carrying it.

In hip hop, it's a lot more about lacing a hot track. I start it, I help mix it, I help write it, I help produce it, I cut the person's vocals. I'm involved from the beginning to the end of a song. I'm not just giving someone a beat, you know?

I don't even like to sing in front of my own band members so it's easier for me if they send me the music and I record my vocals in my own studio.

Usually the song is totally done. I'll do absolutely everything, backing vocals - everything - but in gibberish. A lot of times its based on the mumblings that I sing. Even though I sing in gibberish, it kind of makes sense.

Remixes come very quickly, because you already have the melody and the vocals. I have a great passion for music, so it doesn't matter to me if it's a remix or an original production. I don't think about it as, 'Well, I have to spend three hours on a remix or I have to do something all original.'

It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.

I'm tired of being around men all the time. I'm going to start a band called Skirt with three girls and I'll play the guitar and sing backing vocals in drag. I went window shopping when I was in New York, saw a lot of amazing dresses.

With 'Torches,' I wanted to make a great pop record; I wanted every song to be exciting, not to have too much space, no long pieces of music without vocals. I kind of wanted to write the perfect pop album.

I went to Juilliard in New York and used to do cabarets just for fun. Occasionally, I would get together with a jazz musician and play at a restaurant for cash. And I've done some background vocals for recording artists.

I'll play about with different sounds in the studio with no concept of music at all. I'll just build up a song in layers and when it sounds all right and gives me a vibe, that's enough, and I'll add vocals and move on.

I still do one song by myself onstage. it gives people the extremely personal thing where it's just me on guitar. But, I think the songs are better as a band. I think with all of the extra little hooks and backing vocals, it just adds to what my initial idea was.

I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.

I have been a huge fan of ABRA ever since I discovered her in 2016. I love her gloomy fresh universe and her youthful unique vocals. Also I find her lyrics and visual output super exciting.