Singing Quotes
Most Famous Singing Quotes of All Time!
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I was the youngest of three kids, and from the age of four, singing was my way of getting attention.
Whether it's singing, modeling, acting, you name it, they always label you as the YouTuber, the social media kid, the social media star. It's something that I've heard - a lot - but I kind of just put it to the side.
What happened was, I always wanted to be a singer/songwriter kind of guy like a James Taylor or Crosby, Stills and Nash type of thing; I went to a lot of coffee houses and used to watch all those guys, but I never had the nerve to get up and do it because singing seems so personal and intimate to me. It was too revealing.
I did a capella for a year at boarding school and then I stopped because at Yale, I think they really focus more on singing than having a beat behind them. So I just did my cello thing.
I can play characters who sing, but I don't like singing in a nightclub or something. It's not my metier.
There's the most resistance to an actor singing. It's like I'm being disloyal to my industry.
One of the most beautiful things that recruited me to join the LaRouche movement is its emphasis on Classical singing and composition, especially with the Negro Spirituals, adding a new depth of profundity to songs I had sang while growing up.
The first six years of my career, I got more comments on my weight than on my singing. So I think I became so self-conscious that I started working on it harder.
There are a lot more famous fathers out there than me with daughters who wouldn't mind singing careers... but the talent and the work ethic have to be on point. Kayla's blessed to have all that.
Musicals are written in English, and then we import them to Japan. When we translate them into Japanese, the sounds of the language are completely different. The Japanese language is not the best for singing, in terms of sound.
English is like music. The English language is really fit for singing. The notes match the feelings, and it makes sense.
Singing was always the thing - I played some leads in musicals. Then when I went to college, I joined a singing group.
I was involved with sports and student government, the regular stuff. I liked movies and all, but I did love the singing and putting on musicals, and I was always comfortable with that. I liked it.
You start singing by singing what you hear. So everyone, when they first start singing, they naturally are singing like whatever they're hearing, because that's the only way you learned how to sing. So when I was growing up on Lauryn Hill, when I started singing her songs, I literally trained my voice to be able to do runs.
I think writing and singing go together, but I treat them as two separate careers because I write for others. If I'm writing for myself, I prefer to be with the producer. And then we can vibe out and throw ideas back and forth, and I'll basically let the producer play me a bunch of beats until I vibe with one.
When I started singing, I was covering Lauryn Hill, Brandy, and all the girl groups of the '90s. It's just what I would listen to and what I was singing when anybody asked me to sing for them.
You never imagine that the Green Bay Packers were going to be in something you wrote or singing 'Bootylicious.'
I'm going to keep pursuing my dream, keep singing and, hopefully, move to L.A.
I love singing! I was a musical theater girl in high school. We were always singing and dancing around, and just doing little community theaters and high school musicals. Then, when I got to NYU, I focused more on drama.
Hopefully I'll be successful with the singing, but there are so many other things I want to do, like acting. I'll do them one at a time first!
I love singing and I think I have a really nice voice, but I don't think I have an unbelievable singing voice. I think I have a great character voice.
I love characters songs and I love to fit into a story. I love singing through a character's journey.
You know, your speaking voice comes back, but your singing voice you use in a different way.
Or if I have my head in the results, I can't work with what I have, because I'm trying to force something to happen. And with singing, any time you force it, you tighten up. If you tighten up, you're screwed, nothing will work.
I bring my classical training - some of it, but not all of it - and also my background and culture, to spirituals. And I try to leave room for that unpredictable factor, where the feeling of the song is allowed to come through. The same ethos can be applied to singing Mozart, or Schubert, or Bach. It's not just about what's on the page.
Yes. I do about 70 shows a year, in the past year I've been to Italy, Australia, Japan, China, just about everywhere. I do it because I love singing. The money is a bonus.
Since I have been singing for so many years, I don't always need to approach a song quite so laboriously and meticulously.
My singing is part of me, like my stoutness, or my light hair, or my poor eyesight.
I must work hard to make my singing above reproach; there must be no faults which hard work would take care of.
The B-52s, you know, our songs are about volcanoes or lobsters. Cindy and I sing them like our lives depend on them. I feel very emotional when I'm singing 'Rock Lobster,' but I've wanted to sing more about my personal experience.
Singing has always been a part of my life. I started at Opryland singing, and I realized I could make a living at it. I thought it was something I would grow out of. I didn't know what I was going to do with my life. Everything's just sorta fallen into place.
For me, 'Atmosphere' was more about looking inwards and reaching out to people close to me. To emphasize the fact that I'm singing on the first single, this album is really more about me and songs that I've written instead of collaborating with people.
When I saw Anuel for the first time singing live, I kissed him. That was the kiss that everyone saw.
Some of my writing is very subconscious, and that's definitely what happened with 'Body Language' - I looped some basic bossa nova sounds and just started singing.
Singing is a limitless form of expression, and I love to experiment with my work.
When I was nine, I was singing western swing: Roy Rogers and Patsy Cline. It got me noticed because no one my age was doing it, but it made me feel inferior because none of my friends could relate to it.
Look at Loretta Lynn. Look at Jeannie C. Rily singing 'Harper Valley PTA' and Tammy Wynette singing about divorce. They were ahead of their times in a lot of ways.
I've been singing since I was 12. And I think that all the information is finally starting to chill out. And I don't have to be fancy. I can just kind of do things and simplify things and try to be the best singer I can be.
If I did any movies I'd have to take a break from singing, because I'd want it to be really good.
I started singing about three years ago, I entered a local singing competition called Stratford Idol. The other people in the competition had been taking singing lessons and had vocal coaches. I wasn't taking it too seriously at the time, I would just sing around the house. I was only 12 and I got second place.
My parents were always supportive of me in terms of expressing myself artistically. Art, musical instruments, singing - whatever I did, they were just really supportive.
I love singing, and I came to absolutely adore it in the later part of my career.
It seems like pop singing has sort of influenced musical theatre in so many ways - you could argue good or bad, really - and musical theatre is written for that style so often, which is a completely different style.
In high school, I would secretly play Joni Mitchell songs all the time. That's when I started singing and playing at the same time, and I got really into doing that.
I only know acting. But had I learnt singing earlier, I would have become a singer.
Singing background has always been such a precious thing. I'm always going to be excited to sing behind an artist and learn from them.
I feel like, to have a career as an artist, you don't need to meet the same criteria as you do to win a singing competition. They're two very different animals.
'The Voice' is not just a singing competition. It really comes down to how you come off as a person and how you connect with America with your story, and being relatable to people.
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.
I don't push my voice; I try to keep a good technique, a natural way of singing, to sing from the breath, which is the main thing.
When I'm doing sports, I always think of how it's related to singing, and when I watch tennis, I learn a lot for my singing: how the players are focused, how they use their technique, and, in the case of Roger Federer, how effortless it is and how beautiful it is to watch - like bel canto, in a way. That's how singing should be.
I want people to know me for my singing. I've never been searching for a label of being a fashion plate or a top model. That's a thing that's very short-lived, and it's dealing with a superficial level of this which doesn't really appeal to me.
I don't want the giant ego. I don't want to become Kevin Costner, singing on the soundtrack to The Postman.
I love the sound of the saxophone. It became my singing voice, and it sounds so human. The saxophone could carry the words past the border of words. It can carry it a little bit farther.
I was a musical theatre kid, which meant you could always find me singing or dancing in the halls with at least four other people.
'Backwash' is an old-school, slapstick-y romp between three eccentric loser friends who inadvertently rob a bank, armed solely with a salami and a sweat sock, and then find themselves on the run pursued by singing cops. It's kind of a classic piece, a sophisticated piece, if you will.
I love deeply, and when it comes to singing love songs and something that I have no problem doing, I put all of my heart and soul into these love songs. I know my fans out there are listening, taking these songs to heart. Like I say, they're relating these songs to their lives, too, and their relationships.
My last album as J. Tillman, 'Singing Ax,' that was really a premeditated death rattle of the aesthetic precedent I had set. I realized I wasn't creating spontaneously; I was enforcing all these parameters. I was too self-loathing or something, and there was this obvious dissonance between my conversational voice and creative voice.
After using four different languages on an album, it's tough to decide which one I'm gonna actually learn to speak. I always study the lyric, make sure I know what I'm singing, and try to get the pronunciation as perfect as possible.
I've been playing and singing music since I was three or four years old. I was playing guitar, playing the piano.
When I did the anthem, I did it with the understanding in my heart and mind that I did it because I'm a patriot. I was trying to be a grateful patriot. I was expressing my feelings for America when I did the anthem my way instead of just singing it with an orchestra.
When I first heard Bob Dylan, I'll be honest, I didn't like him. But I was shallow of mind and didn't understand the poetry. I just judged him on his singing and his guitar playing.
When you sing on stage, the songs are part of the narrative, but in 'Unconditional Love,' it was just singing for singing's sake. It was playing at being pop star. As a young boy growing up in North Wales, that was my fantasy.
That was pretty crazy, going from singing in my room to singing in front of 5,000 people.
There's a connection when people are dancing, laughing, and singing, and that definitely happens with 'Head Over Boots.'
I grew up in a community that was bilingual. I've done it for a while, singing in both languages.
A real active music set, based and really concentrated on what the music's all about. That's what I'm all about - singing and a really good strong music set.
Elton John can be a master of the sleight of hand. The arrangements make it seem like there are substantial melodies underneath the tracks - but almost nothing demands repeated listenings. Similarly, he always sounds like he's singing up a storm, but his voice glosses over the material, reducing most things to an uninteresting sameness.
The track 'Open Eye Signal,' when you hear that choir sound come in, that's actually me singing but sped up and with huge reverb and overlayered harmonies.
I was sick of waiting for people to jump on hooks for songs I produced. So I tried singing myself, and I haven't looked back.
Only in acting I'm going by Joanna JoJo Levesque. In singing, just JoJo. But the reason we wanted to go with JoJo Levesque is most people know me as JoJo. People that are familiar with me would still be like, 'Oh, that's JoJo.'
I've been singing since I was two. Music was my first passion and I love writing, singing, creating and being creative.
I feel like I am a real artist and I want to be able to feel what I am singing about. So when I sing, 'Leave (Get Out),' I have been through that. I think it is just a new generation, whether people are ready for it or not. Teenagers are dating.
Dancing and singing are the two things that have stuck with me throughout my life.
I fell in love with the legend of Paul Robeson as a kid. My dad would tell me all these amazing stories about his life and, bizarrely, ended up singing to Robeson on his deathbed.
That was the big thing when I was growing up, singing on the radio. The extent of my dream was to sing on the radio station in Memphis. Even when I got out of the Air Force in 1954, I came right back to Memphis and started knocking on doors at the radio station.
You'll never even catch me doing that 'soft atheist' thing of very softly singing along or just mouthing the words, looking down at a hymn sheet every few seconds to check the words. To state the obvious, as an atheist, the hymn sheet is no use to me. So I just stand there, looking straight ahead or up at the ceiling, and do nothing.
In Flanders fields the poppies blow Between the crosses, row on row, That mark our place, and in the sky, The larks, still bravely singing, fly Scarce heard among the guns below.
Singing well has always been important to me, but the most important factor is the connection to the audience.
I got into musical comedy because of Shakespeare, not because of singing. They needed someone to understudy Richard Burton. I was also going to musical auditions because the agent I had insisted I go to them.
I was just in the middle of singing a song about how broke we were and now my cell phone rings.
What I like about playing America is you can be pretty sure you're not going to get hit with a full can of beer when you're singing and I really enjoy that!
Well, over the years, I've developed a stable of songs of which I'm known for and never get tired of singing.
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