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Singing Quotes

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Singing Quotes

“Now any person who plays an acoustic guitar standing up on stage with a microphone is a folk singer. Some grandmother with a baby in her arms singing a 500-year-old song, well, she's not a folk singer, she's not on stage with a guitar and a microphone. No, she's just an old grandmother singing an old song. The term "folk singer" has gotten warped.”

“All mountain streets have streams to thread them, or deep grooves where a stream might run. You would do well to avoid that range uncomforted by singing floods. You will find it forsaken of most things but beauty and madness and death and God.”

“My mother always accused me of being in love with the sound of my own voice. When we went on road trips, she'd be like, 'Stop singing. Be quiet, you're talking just to hear yourself speak.' It was probably true. I like to ramble on, which is probably why I'm well suited to interviews. You know, there's no other forum where you're literally supposed to sit down and just talk for hours about yourself. I love it.”

“I found it liberating to sing on camera. On stage, you have to indicate having a thought, and the word you are singing must indicate it as well, but on camera, you can have ideas, you can take in all the stimuli that the character would be taking in, there's a freedom you get, and you don't have the obligation to transmit each idea to the back of the house. It felt so much closer to reality for me.”

“I got a phone call from George Miller [the director] asking me to play this role. We sat down and he showed me on his computer a documentary-type montage sequence of real penguins swimming, in an Esther Williams synchronized sort of way, and doing things I have never seen them do. Then he explained his vision of the film, asked me to read the script and to voice the character. I was cast a little bit later, and he let me do the singing as well!”

“When I started out playing guitar and singing, I was about twelve, going on thirteen. The role models for me back then were the folk singers. They all had these high, really nice voices and ranges, like Judy Collins and Joan Baez, and then later, of course, Joni Mitchell and Linda Ronstadt. I decided early on that I was going to learn how to write songs really, really well, because I didn't want to have to compete as a singer. I didn't feel that it was my strong point.”

“I attended the High School of Industrial Arts and studied with many great artists as painting is something that you never stop learning about. Actually, in high school there was a time that I was thinking about just concentrating on painting and I asked my music teacher, Mr. Sondberg, for advice and he encouraged me to stick with the music as well. So all my life I have been singing and painting.”

“Medieval theologians used to dispute how the angels in the heaven spent their time, when not balancing on needle points and singing anthems to the Lord. I know. They slump glued to their clouds, glasses at the ready, as the Archangel Micheal (that well-known slasher) and stonewalling St Peter open against the Devils XI. It could not be Heaven, otherwise.”

“I was okay with singing. I always sneak a song into everything I do. Dancing, a little awkward. Little embarrassed about that. I don't move well. But I was with a frog, so it doesn't matter. I'll do anything with a frog, that's my motto. He's great with tap-dancing or flap-dancing on my head. So no one's going to be looking at me when we're doing that dance. They're going to be saying, 'There's a frog dancing'.”

“I sustained an injury by singing with the flu during the second performance of Andrea Chenier in Buenos Aires. I was very sick, with chills and sweats, but against my better judgement I let them talk me into singing. Of course I gave the performance everything I had and my voice was hurt. It was scary at first, but fortunately there was no permanent damage. I just had to be patient and wait for the voice to return. It took six weeks of physical recuperation and it took time to recover my confidence as well.”

“Our whole intention was to make a record of songs that we grew up with and change them up a little bit, but we kind of stumbled on writing "Joseph's Lullaby." The irony is when I originally wrote the song, it was called "Mary's Lullaby." I wrote it from Mary's standpoint and it was in a higher key, a real falsetto, and it just wasn't right. One day, the producer's wife said, "Well, it's kind of odd that you're singing from Mary's perspective, being the guy. Why don't you do Joseph?”

“I grew up bar-singing and saw all kinds of ways people tried to outrun their emotional pain. It doesn't work. You end up with the original pain, as well as new pain added on top of it from the tactics you used trying to avoid it in the first place. It's best to take a deep breath, bolster yourself, and walk through it.”

“Classical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.”

“There is a lot of incredible talent out there, however, talent alone is not enough. Being a great singer does not matter, if you are not singing great songs. Having great songs will not be obvious to record executives if they are not professionally produced. Consistently performing those songs extremely well is essential.”

“Concurrently, while I was in school, while I was winning awards for acting, I was winning awards for singing, in high school. One of the reasons why I decided to continue on with the acting was the opera world is fraught with a very long process, and I did love the acting, as well. The acting took off sooner, and then you get involved with that.”

“My mother was determined that I was going to leave the farm and do well in life. And she thought with the gift, I might be able to do that. So she took in washing. She got a washing machine in 1942 as soon as we got electricity and she took in washing. She washed the schoolteacher's clothes and anybody she could and sent me for singing lessons for $3 per lesson.”