Vocal Music Quotes

I've got a war in my mind

Softly, deftly, music shall caress you. Hear it, feel it, Secretly possess you.

Floating, falling, sweet intoxication. Touch me, trust me, savor each sensation. Let the dream begin, let your darker side give in to the power of the music of the night.

A choir is made up of many voices, including yours and mine. If one by one all go silent then all that will be left are the soloists. Don’t let a loud few determine the nature of the sound. It makes for poor harmony and diminishes the song.

Mary praise the rosary for my broken mind.

Springsteen is the king, don't you think? I was like, hell yeah, that guy can sing.

You're divine. Didn't anyone ever tell you It's OK to shine?

I feel free when I see no one and nobody knows my name

Too many years fighting back tears. Why can't the past just die? Wishing you were somehow here again, knowing we must say goodbye. Try to forgive, teach me to live, give me the strength to try! No more memories, no more silent tears, no more gazing across the wasted years. Help me say goodbye.

[novan]: bassists are very good with their fingers [novan]: and some of us sing backup vocals, so that means we're good with our mouths too... (~ IM chat with Novan Chang, 18, bassist)

I am the one thing in life I can control. I am inimitable. I am an original

Summer's in the air and baby, heaven's in your eyes

Come on, baby, let's ride. We can escape to the great sunshine

God, you're so handsome

The dilemma of the eighth-grade dance is that boys and girls use music in different ways. Girls enjoy music they can dance to, music with strong vocals and catchy melodies. Boys, on the other hand, enjoy music they can improve by making up filthy new lyrics.

Slowly, gently night unfurls its splendor. Grasp it, sense it, tremulous and tender. Turn your face away from the garish light of day, turn your thoughts away from cold, unfeeling light, and listen to the music of the night... Close your eyes and surrender to your darkest dreams, purge your thoughts of the life you knew before. Close your eyes, let your spirit start to soar, and live, as you never lived before!

Excuse me, there's no pretense here. I happen to be genuinely self-absorbed and deeply shallow.

Cold, cold water, surrounds me now, and all I've got is your hand.

After a hurricane comes a rainbow.

Are people born wicked, or is wickedness trust upon them?

Music shouldn't be just a tune, it should be a touch.

Maybe the reason why all the doors are closed so you could open one that leads you to the perfect road.

Well in case you failed to notice, In case you failed to see, This is my heart bleeding before you, This is me down on my knees These foolish games are tearing me apart Your thoughtless words are breaking my heart You're breaking my heart

Your amazing. Just the way you are.

Music is the fastest motivator in the world.

Love when you can. Cry when you have to. Be who you must, it's a part of the plan. Await your arrival, with simple survival, and one day we'll all understand.

Cause' baby you're a firework!

While I was backstage before presenting the Best New Artist award, I talked to George Strait for a while. He's so incredibly cool. So down-to-earth and funny. I think it should be known that George Strait has an awesome, dry, subtle sense of humor. Then I went back out into the crowd and watched the rest of the show. Keith Urban's new song KILLS ME, it's so good. And when Brad Paisley ran down into the front row and kissed Kimberley's stomach (she's pregnant) before accepting his award, Kellie, my mom, and I all started crying. That's probably the sweetest thing I've ever seen. I thought Kellie NAILED her performance of the song we wrote together "The Best Days of Your Life". I was so proud of her. I thought Darius Rucker's performance RULED, and his vocals were incredible. I'm a huge fan. I love it when I find out that the people who make the music I love are wonderful people. I love Faith Hill and how she always makes everyone in the room feel special. I love Keith Urban, and how he told me he knows every word to "Love Story" (That made my night). I love Nicole Kidman, and her sweet, warm personality. I love how Kenny Chesney always has something hilarious or thoughtful to say. But the real moment that brought on this wave of gratitude was when Shania Twain HERSELF walked up and introduced herself to me. Shania Twain, as in.. The reason I wanted to do this in the first place. Shania Twain, as in.. the most impressive and independent and confident and successful female artist to ever hit country music. She walked up to me and said she wanted to meet me and tell me I was doing a great job. She was so beautiful, guys. She really IS that beautiful. All the while, I was completely star struck. After she walked away, I realized I didn't have my camera. Then I cried. You know, last night made me feel really great about being a country music fan in general. Country music is the place to find reality in music, and reality in the stars who make that music. There's kindness and goodness and....honesty in the people I look up to, and knowing that makes me smile. I'm proud to sing country music, and that has never wavered. The reason for the being.. nights like last night.

They hear drums, we hear music.

You got to think a musical instrument is human or, anyway, alive....You take a fiddle now, we say it has a neck, and in the human neck what do you find? Vocal cords like strings, where the sound comes from.

you're not the opinion of someone who doesn't know you

They can take tomorrow and the plans we made They can take the music that we'll never play All the broken dreams, take everything Just take it away but they can never have yesterday They can take the future that we'll never know They can take the places that we said we would go All the broken dreams, take everything Just take it away but they can never have yesterday

We've both got a million bad habits to kick, not sleeping is one. We're biting our nails, you're biting my lip, I'm biting my tongue.

I was ten when I heard the music that ended the first phase of my life and cast me hurtling towards a new horizon. Drenched to the skin, I stood on Dunoon’s pier peering seawards through diagonal rain, looking for the ferry that would take me home. There, on the everwet west coast of Scotland, I heard it: like sonic scalpels, the sounds of electric guitars sliced through the dreich weather. My body hairs pricked up like antennae. To my young ears these amplified guitars sounded angelic, for surely no man-made instrument could produce that tone. The singer couldn't be human. His voice was too clean, too pure, too resonant, as though a robot larynx were piping words through vocal chords of polished silver. The overall effect was intoxicating - a storm of drums, earthquake bass, razor-sharp guitar riffs, and soaring vocals of astonishing clarity. I knew that I was hearing the future.

Amy turned to Nellie. "Can you create a diversion to draw the clerk outside?" The au pair was wary. "What kind of diversion?" "You could pretend to be lost," Dan proposed. "The guy comes out to give you directions, and we slip inside." "That's the most sexist idea I've ever heard," Nellie said harshly. "I'm female, so I have to be clueless. He's male, so he's got a great sense of direction." "Maybe you're from out of town," Dan suggested. "Wait–you are from out of town." Nellie stashed their bags under a bench and set Saladin on the seat with a stern "You're the watchcat. Anybody touches those bags, unleash your inner tiger." The Egyptian Mau surveyed the street uncertainly. "Mrrp." Nellie sighed. "Lucky for us there's no one around. Okay, I'm going in there. Be ready." The clerk said something to her–probably May I help you? She smiled apologetically. "I don't speak Italian." "Ah–you are American." His accent was heavy, but he seemed eager to please. "I will assist you." He took in her black nail polish and nose ring. "Punk, perhaps, is your enjoyment?" "More like a punk/reggae fusion," Nellie replied thoughtfully. "With a country feel. And operatic vocals." The clerk stared in perplexity. Nellie began to tour the aisles, pulling out CDs left and right. "Ah–Artic Monkeys–that's what I'm talking about. And some Bad Brains–from the eighties. Foo Fighters–I'll need a couple from those guys. And don't forget Linkin Park..." He watched in awe as she stacked up an enormous armload of music. "There," she finished, slapping Frank Zappa's Greatest Hits on top of the pile. "That should do for a start." "You are a music lover," said the wide-eyed cashier. "No, I'm a kleptomaniac." And she dashed out the door.

Sound is the most absorbent medium of all, soaking up histories and philosophical systems and physical surroundings and encoding them in something so slight as a single vocal quaver or icy harpsichord interjection.

hi lisen to the sound of music

What does not kill us makes us hotter!

And if I'm flying solo At least I'm flying free

Yeah – Sure I remember Matter of fact it was just last September She still calls it the fall to remember Little Heather when it all came together You remember the first time you met her? She cried when it rained and blamed the weather But inside she strained with suicide letters The kind of cold you couldn’t warm with a sweater Hardly lasted past December She said she was headed down to defeat That’s the last you’d seen and never had dreamed That the same little Heather – It’s who you saw last week In an instant you couldn’t have missed her gleam As she listened she looked like a distant queen With a difference, there for all to see She found a different – A different kind of free

I don’t care if he hangs out with Skream/Benga or whoever,” he spat, “it’s just pure nonsense to ruin a hardcore genre with gay synths, chopped chipmunk vocals and cheesy poppy shit just so you can make a shitload of money and be an icon to a fanbase that consists of 13 year old wannabe dubheads and doesn’t know shit about music.

Sometimes silence become the most excruciating sound; sometimes the mind becomes a musical symphony of clouded thoughts, questions and clarifications but the vocals fail to present the sound of conversation.

Hannah leaned forward and reached for the dial. The radio hissed, shrieked and blasted a few bars of Mozart before finally settling on Radiohead’s Exit Music (for a Film). Hannah, delighted with her discovery, smiled and slumped back in her seat. She listened to Thom Yorke’s nasally vocals in silence for a couple of verses before joining in. Singing heartily and drumming away on her knees, she was like a ball of energy, and already I felt this energy permeating my own body. I felt as fresh and as happy as I’d been in months. Radiohead ended and became The Stone Roses, who in turn became The Killers. Finally, when they became the hourly news, Hannah rolled her eyes and turned off the radio.

When the heart is beautiful, its light shines though the eyes, vocal tones and actions of its owner.

You'll never grow old, And you'll never grow poor, If you look to the rainbow, Beyond the next moor.

If it's not real You can't hold it in your hands You can't feel it with your heart And I won't believe it But if it's true You can see it with your eyes Oh, even in the dark

think i'll miss you forever, like the stars miss the sun in the morning sky

Hold on tight to your dream

Still, in the larger sense, in a broader sense, it’s better to have lived than left, right?

Music, like the visual arts, is rooted in our experience of the natural world," said Schwartz. "It emulates our sound environment in the way that visual arts emulate the visual environment." In music we hear the echo of our basic sound making instrument-the vocal tract. This explanation for human music is simpler still than Pythagoras's mathematical equations: we like the sounds that are familiar to us-specifically, we like sounds that remind us of us.

Music can only be corrupted by words; the words, whether immanent to the work (as in vocal music or opera) or accidental fantasies of the listener or critic, are once again charged with negative force.

Vocal music is considered to be the highest, for it is natural; the effect produced by an instrument which is merely a machine cannot be compared with that of the human voice. However perfect strings may be, they cannot make the same impression on the listener as the voice which comes direct from the soul as breath, and has been brought to the surface through the medium of the mind and the vocal organs of the body.

Anna's voice wasn't a beautiful voice - rough edged and sorrowful, a bit used, somehow male and female at once. Yet it had more vibrancy to it than most Danish voices, which were often thin and white and too pretty to trigger a shiver. Anna's voice had the heat of the south; it warmed Einar, as if her throat were red with coals.

Tell me have you ever wanted someone so much it hurts? Your lips keep trying to speak, but you just can't find the words. Well I had this dream once, I held it in my hand... You had me dim the lights, you danced just like a child. The wine spilled on your dress and all you did was smile. Yeah, it was perfect. I hold it in my mind. When we owned the night.

The vocal chorus will be along shortly: I like that part especially and the abrupt manner in which it throws itself forward, like a cliff against the sea. For the moment, the jazz is playing; there is no melody, only notes, a myriad of tiny jolts. They know no rest, an inflexible order gives birth to them and destroys them without even giving them time to recuperate and exist for themselves. They race, they press forward, they strike me a sharp blow in passing and are obliterated. I would like to hold them back, but I know if I succeeded in stopping one it would remain between my fingers only as a raffish languishing sound. I must accept their death; I must even will it. I know few impressions stronger or more harsh.

The finest music in the room is that which streams out to the ear of the spirit in many an exquisite strain from the little shelf of books on the opposite wall. Every volume there is an instrument which some melodist of the mind created and set vibrating with music, as a flower shakes out its perfume or a star shakes out its light. Only listen, and they soothe all care, as though the silken-soft leaves of poppies had been made vocal and poured into the ear.

I wrote about everything I didn’t write on The Fame. While traveling the world for two years, I’ve encountered several monsters, each represented by a different song on the new record: my ‘Fear of Sex Monster,’ my ‘Fear of Alcohol Monster,’ my ‘Fear of Love Monster,’ my ‘Fear of Death Monster,’ my ‘Fear of Loneliness Monster,’ etc. I spent a lot of nights in Eastern Europe, and this album is a pop experimentation with industrial/Goth beats, 90’s dance melodies, an obsession with the lyrical genius of 80’s melancholic pop, and the runway. I wrote while watching muted fashion shows and I am compelled to say my music was scored for them.

The elements of voice and style are braided together like twine, consisting of these attempts to copy other artists, or an instrument, or even the sound of a bird or passing train. Added to these characteristics are emotions and thoughts that register as various vocal quirks, like hiccups, sighs, growls, warbles—a practically limitless assortment of choices. Most of these choices are made at the speed of sound on a subconscious level, or one would be completely overwhelmed by the task.

When we sing, I am one of many, and the individual me evaporates. I am one of 23 university choir members. Not a professor. Not an American. Not a 46-year-old in the midst of twentysomethings. Not a woman trying to outpace the aspects of self she has yet to make oeace with. I am simply what we all are--another voice, a set of lungs, some vocal chords and someone who finds joy and comfort in singing. But when the music stops, so does the we. The union dissolves. The silence transforms first person plural into first person singular.

I just want to make you feel okay. But all you do is look the other way.

Haida preferred to listen to instrumental music, chamber music, and vocal recordings. Music where the orchestral component was loud and prominent wasn’t to his liking.

When it all comes true Just the way you planned It's funny but the bells don't ring It's a quiet thing.

our honeymoon, say you want me too <3

Poor guy's head is spinning!

Inside, upstairs, where the planes are met, the spaces are long and low and lined in tasteful felt gray like that cocky stewardess's cap and filled with the kind of music you become aware of only when the elevator stops or when the dentist stops drilling. Plucked strings, no vocals, music that's used to being ignored, a kind of carpet in the air, to cover up a silence that might remind you of death.

Brutality is boring. Over and over, hell night after hell night, the same old dumb, tedious, bestial routine: making men crawl; making men groan, hanging men from the bars; shoving men; slapping men; freezing men in the showers; running men into walls; displaying shackled fathers to their sons and sons to their fathers. And if it turned out that you'd been given the wrong man, when you were done making his life unforgettably small and nasty, you allowed him to be your janitor and pick up the other prisoners' trash. There was always another prisoner, and another. Faceless men under hoods: you stripped them of their clothes, you stripped them of their pride. There wasn't much more you could take away from them, but people are inventive: one night some soldiers took a razor to one of Saddam's former general in Tier 1A and shaved off his eyebrows. He was an old man. "He looked like a grandfather and seemed like a nice guy," Sabrina Harman said, and she had tried to console him, telling him he looked younger and slipping him a few cigarettes. Then she had to make him stand at attention facing a boom box blasting the rapper Eminem, singing about raping his mother, or committing arson, or sneering at suicides, something like that⁠—these were some of the best-selling songs in American history. "Eminem is pretty much torture all in himself, and if one person's getting tortured, everybody is, because that music's horrible," Harman said. The general maintained his bearing against the onslaught of noise. "He looked so sad," Harman said. "I felt so bad for the guy." In fact, she said, "Out of everything I saw, that's the worst." This seems implausible, or at least illogical, until you think about it. The MI block was a place where a dead guy was just a dead guy. And a guy hanging from a window frame or a guy forced to drag his nakedness over a wet concrete floor⁠—well, how could you relate to that, except maybe to take a picture? But a man who kept his chin up while you blasted him with rape anthems, and old man shorn of his eyebrows whose very presence made you think of his grandkids--you could let that get to you, especially if you had to share in his punishment: "Slut, you think I won't choke no whore / til the vocal cords don't work in her throat no more!..." or whatever the song was.

I was so bowled over when he said he would come to Korea himself to direct the vocals. I thought, 'Wow...Think of how much you'd have to love music to do that! Have I ever put that much passion into something myself...?

No I did not call in sick to work today No I'm not out hanging with my friends There's no more wasting time On what I think I'm supposed to do My clock is standing still so I can have my dream life life With the ones I love Playing all day long Laying back by the water side With nowhere to go And the music on I'm working hard for my dream life To be my real life And that can't be wrong All I have is this life So I'm making it what I want

sombre, anxious, melancholic, atmospheric, surreal, cold, lonely, cryptic, abstract, apathetic, male vocals, mysterious, dark, nocturnal, complex, mechanical, progressive, lush, disturbing 'Descriptors' - Radiohead - Amnesiac

Here is a historical fact that somehow gets overlooked, and might seem controversial, but it just simply is true: The Beastie Boys should only be listened to by deaf people. Any other time it plays over speakers, it should be considered torture and an act of war. Even ducks, the songbirds of the feathered swimmers, hate The Beastie Boys, and consider them to be The Three Stooges of the musical world, with all of the vocal talent of Gilbert Gottfried.

If I'm not wearing makeup or something androgynous, they see me as a boy. If I do dress more feminine or androgynous, they see a boy but a boy wearing eyeshadow or nail polish. It's easier for people to see what's on the outside than what's on the inside....You know how most people hear a song and only remember the thumping piano melody? I'm more than just that one instrument or one key. I exist in between notes, with backing vocals and lush harmonies.

Drew is the opening song on my favorite album. He’s the song that everyone loves, the song that draws me in and makes me want to listen to the whole album without stopping. He’s the catchy song with the great hook, fancy guitar solo, and soaring vocals. But Shane … Shane’s the hidden track. He’s the song I don’t listen to until I’ve devoured the whole album. He’s that quiet song with the unbelievable melody. The song that makes me understand myself a bit better. Once I discover a truly special hidden track, I never get sick of it.

Emo developed out of the punk scene, and they generally wear black. There is, however, a great deal of angst in their music, with dramatic vocals leaving audiences at live gigs sobbing or screaming. There’s a lot of self-loathing and despair in this culture - hence the self-harm slitting of the wrists, although it's more like little kitten scratches - but to be honest a bigger bunch of dickheads you couldn’t hope to find. Can you imagine walking out of a gig by ‘Forever the Sickest Kids,’ or ‘City of Caterpillar’ or ‘….. And you will Know us by the Trail of Dead’ balling your eyes out? I mean ….. Really!!

By the way, this tells you why Auto-Tuned vocals on many contemporary records sound so shallow and lifeless. It’s almost as if everything we learned from African American music during the twentieth century was thrown out the window by technologies in the twenty-first century. The goal should not be to sing every note dead center in the middle of the pitch---we escaped from that musical prison a hundred years ago. Why go back? In an odd sort of way, much of contemporary pop music resembles opera, with all the subtle shadings of bent notes and microtonal alterations abandoned in the quest for mathematically pure tones.

Despite the occasional backlash, I’ll continue to speak on this topic until people stop assuming that this debate is about whether or not to allow women into combat. Women are already fighting in combat with or without anyone’s permission, and they’re doing so valiantly. What they aren’t doing is being trained alongside their comrades-in-arms, given credit for doing the same jobs as their counterparts, given promotions to jobs overseeing combat operations, or being treated like combat veterans by people back home (even some in the Veterans Administration). Not every man has the skill set or warrior spirit for combat. Not every woman does, either. But everyone that does have that skill set should be afforded the opportunity to compete for jobs that enable them to serve in the way their heart calls them. For some people, that calling is in music or art. Some are natural teachers. There are those who will save lives with science. I was called to be a warrior and to fly and fight for my country. I was afforded the opportunity to answer that call, and because of that, I have lived a full and beautiful life. People will always be afraid of change. Just like when we integrated racially or opened up combat cockpits to women, there will always be those who are vocal in their opposition and their fear. History will do what it always does, however. It will make their ignorant statements, in retrospect, seem shortsighted and discriminatory, and the women who will serve their country bravely in the jobs that are now opening up will prove them wrong. Just like we always have.

It was the invention in the music that was so striking —the will to create what had never been heard before, through vocal tricks, rhythmic shifts, pieces of sound that didn’t logically follow one from the other, that didn’t make musical or even emotional sense when looked at as pieces, but as a whole spoke a new language.

And that’s why we should stop. Let’s stop before everything went so wrong. Let’s hold time still. Let’s remember him as he was on Enter—not crazy at all, only brilliant and brave, the most radical member of a radical Clan, whose apparent lack of control was predicated on the most complete control. Let’s remember him whip-thin, his head tilted, gold teeth showing, his eyes aggressively wide, wiry dreads moving away from his scalp like spilt lines of paint or the tentacular extrusions of his brilliant Black mind. Let’s let him win. Let’s remember those vocals, uninhibited by any rules except those he chose. Let’s focus always on the exhilaration, the feeling we had when we first heard him, the disbelief, the laughter which bubbled up like it does in children. Not the laughter of mockery, but the laughter of pure joy, the laughter of disbelief and amazement, the laughter which is all you can manage when confronted by the undeniable, surprising beauty of the world. Let’s let him breathe.

Of course there is no denying that all these primordial dreams appear, in the opinion of nonmathematicians, to have been suddenly realized in a form quite different from the original fantasy. Baron Munchhausen’s post horn was more beautiful than our canned music, the Seven-League boots more beautiful than a car, Oberon’s kingdom lovelier than a railway tunnel, the magic root of the mandrake better than a telegraphed image, eating of one’s mother’s heart and then understanding birds more beautiful than an ethologic study of a bird’s vocalizing. We have gained reality and lost dream. No more lounging under a tree and peering at the sky between one’s big and second toes; there’s work to be done. To be efficient, one cannot be hungry and dreamy but must eat steak and keep moving. It is exactly as though the old, inefficient breed of humanity had fallen asleep on an anthill and found, when the new breed awoke, that the ants had crept into its bloodstream, making it move frantically ever since, unable to shake off that rotten feeling of antlike industry.

In 1857, Bizet departed for Rome and spent three years there. He studied the landscape, the culture, Italian literature and art. Musically he studied the scores of the great masters. At the end of the first year he was asked to submit a religious work as his required composition. As a self-described atheist, Bizet felt uneasy and hypocritical writing a religious piece. Instead, he submitted a comic opera. Publicly, the committee accepted, acknowledging his musical talent. Privately, the committee conveyed their displeasure. Thus, early in his career, Bizet displayed an independent spirit that would be reflected in innovative ideas in his opera composition. [The Pearl Fishers - Georges Bizet, Virginia Opera]

Love it or hate it, thrive in it or still getting the hang of it, the recording studio is the place where your main product is going to be captured, recorded, mixed and created. You need a clear platform from preproduction to the schedule, tracking to the overdubs, vocals to the final mix. The best-laid studio planning will save you the most money and greatly reduce stress.

Aurora was romantic and brooding and heartbreaking and volatile all at once. In the age of arena rock, Daisy Jones & The Six managed to create something that felt intimate even though it could still play to a stadium. They had the impenetrable drums and the searing solos—they had songs that felt relentless in the best way possible. But the album also felt up close and personal. Billy and Daisy felt like they were right next to you, singing just to each other. “And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway. “But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to. “For every moment of your life, in 1978, Aurora could play in the background. “And from the moment it was released, it was a juggernaut.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

Aggressive music has always been a liberator for me; however, hard tunes with no soul quickly wear thin. H.R. exhibited soul where it could not be found previously. His lyrics contributed an urgency fueled by spirituality and a call to social justice, which substantiated the ferocity of the Bad Brains’ earth-shattering soundscapes. This included the instances when Bad Brains broke it down to a mesmerizing, skank-drenched reggae rhythm. H.R.’s vocal style was otherworldly; ever vacillating between combative and graceful expression; all the while thrusting forth a righteous dose of rebellion served with a side of hope.  

The Thanksgiving special was titled Here Is Mariah Carey, and I was going to debut three new songs from Music Box: “Dreamlover,” “Anytime You Need a Friend,” and “Hero,” along with some of my known hits—“Emotions,” “Make It Happen,” and of course, “Vision of Love.” I had always written songs from an honest place, using my own lived experiences and dreams as a source. I also pushed my vocals to their extreme. I was also going to debut “Hero.” It’s always a risk to debut songs at a live show that people have not had the opportunity to connect with through radio repetition. Even though I wrote “Hero,” it wasn’t originally intended for me to perform.

His performance was also intensely visual, with his volatile movements in front of the piano, and his cries and wild vocal accompaniment to his playing, all of which spoke eloquently of his extraordinary passion for the instrument and the music he coaxed, tickled and sometimes pounded out of him. Many critics were put off by all this, thinking it was a mere outward show- and therefore insincere. In fact it is an essential part of music-making for Jarrett, his way of achieving his state of grace… the ecstasy of inspiration. Miles Davis understood that immediately, and so did most other musicians. Jack DeJohonette says: “The one thing that struck me about Keith, that made him stand out from other players, was that he really has a love affair with the piano, it’s a relationship with that instrument… Keith’s hands are actually quire small but because of that he can do things that a person like myself, or other pianists with normal hand spans, can’t do… it enables him to overlap certain chord sequences and do rhythmic things and contrapuntal lines and get these effects of like, four people playing the piano… But I’ve never seen anybody just have such a rapport with their instrument and know its limitations but also push them to the limits, transcend the instrument – which is what I try and do with the drums as well.

Personally, I like my gods old, grizzled and *here*. I'll take Dylan; the pirate raiding party of the Stones; the hope-I-get-very-old-before-I-die, present live power of the Who; a fat, still-mesmerizing-until-his-death Brando—they all suit me over the alternative. I would've liked to have seen that last Michael Jackson show, a seventy-year-old Elvis reinventing and relishing in his talents, where Jimi Hendrix might've next taken the electric guitar, Keith Moon, Janis Joplin, Kurt Cobain and all the others whose untimely deaths and lost talents stole something from the music I love, living on, enjoying the blessings of their gifts and their audience's regard. Aging is scary but fascinating, and great talent morphs in strange and often enlightening ways.

Vanity 6’s most famous song, ‘Nasty Girl’, may be less well-known than Prince’s greatest hits, but it’s among the most influential songs Prince has written. It’s easy to trace a line from Madonna, who in her earliest incarnation could have been a fourth member of the band, on to Janet Jackson, whose 1986 song ‘Nasty’ (produced by two former members of The Time) reverses the gender from ‘nasty girls’ to ‘nasty boys’, to Britney Spears, who claimed that the track ‘Boys’, from her 2001 album Britney, had ‘a kinda Prince feel to it’, but actually lifts directly from ‘Nasty Girl’ (the song is produced by The Neptunes, and its remixed version, ‘Boys (The Co-Ed Remix)’, features vocals from Pharrell Williams, a producer and rapper and diehard Prince fanatic). Britney’s ‘Let’s turn this dance floor into our own little nasty world’, and repeated invocations to ‘get nasty’, are clear Xeroxes of Vanity’s ‘my own little nasty world’ and ‘dance nasty girls’.

In few human activities is competition more ingrained than in music, and has been so ever since the battle between Marsyas and Apollo. Wagner has immortalized these vocal battles in his Meistersinger. As instances from periods following that of the Meistersinger themselves we may cite the contest between Handel and Scarlatti got up by Cardinal Ottoboni in the year 1709, the chosen weapons being harpsichord and organ. In 1717 Augustus the Strong, King of Saxony and Poland, wanted to organize a contest between J. S. Bach and a certain Marchand, but the latter failed to appear. In 1726 all London society was in an uproar because of the competition between the two Italian singers Faustina and Cuzzoni: there were fisticuffs and catcalls. Factions and cliques develop with astonishing ease in musical life. The 18th century is full of these musical coteries—Bononcini versus Handel, Gluck versus Piccini, the Parisian “Bouffons” versus the Opera. The musical squabble sometimes took on the character of a lasting and embittered feud, such as that between the Wagnerians and the Brahmsians.

Like many dogs, young Sirius found human music quite excruciating. An isolated vocal or instrumental theme was torture enough to him; but when several voices or instruments combined, he seemed to lose control of himself completely. His fine auditory discrimination made even well-executed solos seem to him badly out of tune. Harmony and the combination of several themes resulted for him in hideous cacophony. Elizabeth and the children would sometimes sing rounds, for instance when they were coming downt he moor after a picnic. Sirius invariably had to give up his usual far-ranging course and draw into the party to howl. The indignant children would chase him away, but as soon as the singing began again he would return and once more give tongue. On one occasion Tamsy, who was the most seriously musical member of the family, cried imploringly, 'Sirius, do either keep quiet or keep away! Why cant't you let us enjoy ourselves?' He replied, 'But how can you like such a horrible jarring muddle of sweet noises? I have to come to you because they're so sweet, and I have to howl because it's a mess, and because-oh because it might be so lovely.' Once he said, 'If I were to paint a picture could you just keep away? Wouldn't you go crazy because of the all-wrongness of the colour? Well, sounds are far more exciting to me than your queer colour is to you.

Hold On" They hung a sign up in our town "If you live it up, you won't live it down" So she left Monte Rio, son Just like a bullet leaves a gun With her charcoal eyes and Monroe hips She went and took that California trip Oh, the moon was gold, her hair like wind Said, "don't look back, just come on, Jim" Oh, you got to hold on, hold on You gotta hold on Take my hand, I'm standing right here, you gotta hold on Well, he gave her a dimestore watch And a ring made from a spoon Everyone's looking for someone to blame When you share my bed, you share my name Well, go ahead and call the cops You don't meet nice girls in coffee shops She said, "baby, I still love you" Sometimes there's nothin' left to do Oh, but you got to hold on, hold on Babe, you gotta hold on and take my hand I'm standing right here, you gotta hold on Well, God bless your crooked little heart St. Louis got the best of me I miss your broken China voice How I wish you were still here with me Oh, you build it up, you wreck it down Then you burn your mansion to the ground Oh, there's nothing left to keep you here But when you're falling behind in this big blue world Oh, you've got to hold on, hold on Babe, you gotta hold on Take my hand, I'm standing right here, you gotta hold on Down by the Riverside motel It's ten below and falling By a ninety-nine cent store She closed her eyes and started swaying But it's so hard to dance that way When it's cold and there's no music Oh, your old hometown's so far away But inside your head there's a record that's playing A song called "Hold On", hold on Babe, you gotta hold on Take my hand, I'm standing right there, you gotta hold on

My mother never seemed to listen to much music, but she loved Barbara Streisand, counting The Way We Were and Yentl as two of her favorite films. I remembered how we used to sing the song "Tell Him" together, and skipped through the album until I found it on track four. "Remember this?" I laughed, turning up the volume. It's a duet between Babe and Celine Dion, two powerhouse divas joining together for one epic track. Celine plays the role of a young woman afraid to confess her feelings to the man she loves, and Barbara is her confidant, encouraging her to take the plunge. "I'm scared, so afraid to show I care... Will he think me weak, if I tremble when I speak?" Celine begins. When I was a kid my mother used to quiver her lower lip for dramatic effect when she sang the word "tremble." We would trade verses in the living room. I was Barbara and she was Celine, the two of us adding interpretive dance and yearning facial expressions to really sell it. "I've been there, with my heart out in my hand..." I'd join in, a trail of chimes punctuating my entrance. "But what you must understand, you can't let the chance to love him pass you by!" I'd exclaim, prancing from side to side, raising my hand to urge my voice upward, showcasing my exaggerated vocal range. Then, together, we'd join in triumphantly. "Tell him! Tell him that the sun and moon rise in his eyes! Reach out to him!" And we'd ballroom dance in a circle along the carpet, staring into each other's eyes as we crooned along to the chorus. My mom let out a soft giggle from the passenger seat and we sang quietly the rest of the way home. Driving out past the clearing just as the sun went down, the scalloped clouds flushed with a deep orange that made it look like magma.

Night after night I would speak to Violet in the womb (no matter how strange that may seem to some people) because I was looking forward to the day when I would hold her in my arms, no longer just talking to my wife’s pajamas like a fucking lunatic. When the day finally came, I was nervously packing up the car to go to the hospital when I noticed a huge rainbow overhead, something that happens maybe once every thousand years in Los Angeles. I was immediately calmed. Yes, it sounds nauseatingly romantic, but yes, it’s true, and I took it as a sign. After a long and difficult labor, Violet was born to the sound of the Beatles in the background, and she arrived screaming with a predetermined vocal capacity that made the Foo Fighters sound like the Carpenters. Once she was cleaned up and put under the little Arby’s heat-lamp bed, I put my face close to hers, stared into her gigantic blue eyes, and said, “Hey, Violet, it’s Dad.” She immediately stopped screaming and her eyes locked with mine. She recognized my voice. We stared at each other in silence, our first introduction, and I smiled and talked to her as if I had known her my whole life. I am happy to say that, still to this day, when we lock eyes it’s the same feeling. This was a love I had never experienced before. There is an inevitable insecurity that comes along with being a famous musician that makes you question love. Do they love me? Or do they love “it”? You are showered with superficial love and adoration on a regular basis, giving you something similar to a sugar high, but your heart crashes once the rush dies off. Is it possible for someone to see a musician without the instrument being a part of their identity? Or is that a part of the identity that the other loves? Regardless, it’s a dangerous and slippery slope to question love, but one thing is for certain: there is nothing purer than the unconditional love between a parent and their child.

This new generation of Italian American entertainers shared Sinatra’s view of the new dance music that emerged in the 1950s. “Rock-and-roll is the most brutal, ugly, desperate, vicious form of expression it has been my misfortune to hear,” Sinatra told Congress in 1958. “Rock-and-roll smells phony and false. It is sung, played, and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd—in plain fact, dirty—lyrics … it manages to be the martial music of every sideburned delinquent on the face of the earth.” In response to the raw, driving sexuality of black-influenced rock, young Italian American men in New York and Philadelphia did to the new music what Sinatra and his generation had done to jazz. A style combining smooth vocal harmonies, romantic lyrics, and a stationary stage presence, doo-wop was invented in the 1940s by black youth on street corners, but it shot to the top of the pop charts in the late 1950s when Italian Americans adopted it as their own—just as most African American performers moved toward “soul music.” From 1958, when Dion (DiMucci) and the Belmonts placed several songs on the pop charts, until the “British Invasion” of 1964, Italian American doo-wop groups dominated American popular music. All wearing conservative suits and exuding a benign romanticism, the Capris, the Elegants, the Mystics, the Duprees, the Del-Satins, the Four Jays, the Essentials, Randy and the Rainbows, and Vito & the Salutations declared the arrival of Italians into American civilization. During the rise of doo-wop and Frank Rizzo, Malcolm X mocked the newly white Italians. “No Italian will ever jump up in my face and start putting bad mouth on me,” he said, “because I know his history. I tell him when you’re talking about me you’re talking about your pappy, your father. He knows his history. He knows how he got that color.” Though fewer and fewer Italian Americans know the history of which Malcolm X spoke, some have reenacted it.

No Mirrors in My Nana’s House” Sweet Honey in the Rock LYRICS BY YSAYE MARIA BARNWELL Sweet Honey in the Rock is a Grammy Award–winning vocal group of black women vocalists founded in 1973 by Bernice Johnson Reagon. The group’s members have changed during its long tenure, but it retains a core of five vocalists and a sign-language interpreter. Their performances are deeply embodied celebrations of black women’s lived experiences. The group’s name is derived from Psalm 81:16: “But you would be fed with the finest of wheat; with honey from the rock I would satisfy you.” Sign-language interpreter Dr. Ysaye Barnwell joined Sweet Honey in the Rock in 1979 and appears in more than thirty recordings with the group. She is the author of one of the group’s most popular recordings, “No Mirrors in My Nana’s House.” It is a stirring piece that reveals how the loving protection of black women can shield black girls from a painful world that seeks to negate their beauty and worth. In 1998 the lyrics became a children’s book published by Harcourt Brace. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I never knew that my skin was too black. I never knew that my nose was too flat. I never knew that my clothes didn’t fit. I never knew there were things that I’d missed, cause the beauty in everything was in her eyes (like the rising of the sun); . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I was intrigued by the cracks in the walls. I tasted, with joy, the dust that would fall. The noise in the hallway was music to me. The trash and the rubbish just cushioned my feet. And the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). The world outside was a magical place. I only knew love. I never knew hate, and the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun).

Danny and the Memories was the band at the root of Crazy Horse. They were a vocal group with Danny Whitten, Ralphie, Billy, and a guy named Ben Rocco. When I recently saw their old video of "Land of a Thousand Dances" on You-Tube, I realized that is is truly the shit. You know, I looked at it maybe twenty times in a row. Even though Danny was amazing and he held the Horse together in the early days, I did not know how great Danny was until I saw this! The moves! What an amazing dancer he was. His presence on that performance is elevating! He is gone, and no one can change that. We will never see and hear where he was going. I am telling you, the world missed one of the greatest when Danny and the Memories did not have a NUMBER ONE smash record back in the day. They were so musical, with great harmonies, and Danny was a total knockout! I am so moved by this that it could make me cry at any time. This is one of those many times when words can't describe the music. Danny and the Memories eventually transformed into the Rockets; they were playing in this old house in Laurel Canyon, and I somehow connected with them while Buffalo Springfield was at the Whiskey. We had a lot of pots jams in the house. Later on I saw Danny and the guys at somebody's house in Topanga. After that I asked if Danny, Billy, and Ralphie would play on a record with me. We did one day, practicing in my Topanga house, and it sounded great. I named the band Crazy Horse and away we went. The Rockets were still together, but this was a different deal. At that time, I thought Danny was a great guitarist and singer. I had no idea how great, though. I just was too full of myself to see it. Now I see it clearly. I wish I could do that again, because more of Danny would be there. I have made an Early Daze record of the Horse, and you can hear a different vocal of "Cinnamon Girl" featuring more of Danny. He was singing the high part and it came through big-time. I changed it so I sang the high part and put that out. That was a big mistake. I fucked up. I did not know who Danny was. He was better than me. I didn't see it. I was strong, and maybe I helped destroy something sacred by not seeing it. He was never pissed off about it. I wasn't like that. I was young, and maybe I didn't know what I was doing. Some things you wish never happened. But we got what we got. I never really saw him a sing and move until I saw that "Land of a Thousand Dances" video. I could watch it over and over. I can't believe it. It's just one of those things. My heart aches for what happened to him. These memories are what make Crazy Horse great today. And now we don't have Briggs, either, for the next record, but we have the spirit and the heart to go on. And we have John Hanlong, taught by Briggs, to engineer this sucker. It will rock and cry. Please let's get to this before life comes knocking again.

In a musical figure I must attack the lowest note in such a way that I can easily reach the highest. I must, therefore, give it much more head tone than the single tone requires. (Very important.)

So sure, I had to dig out of a little insecurity hole vocally, but I don’t blame my parents for this. We are all a work in progress.

First, song refers to any complex, nonverbal, learned vocalization, and we see instances of song in most musical systems around the world.

If there has been a compositional response to MP3s and the era of private listening, I have yet to hear it. One would expect music that is essentially a soothing flood of ambient moods as a way to relax and decompress, or maybe dense and complex compositions that reward repeated playing and attentive listening, maybe intimate or rudely erotic vocals that would be inappropriate to blast in public but that you could enjoy privately. If any of this is happening, I am unaware of it.

One adage was along the lines of needing to let the audience know you’re going to do something special before you do it. You tip them off and draw their attention to you (and you have to know how to do that in a way that isn’t obvious) or toward whoever is going to do the special thing. It seems counterintuitive in some ways; where’s the surprise if you let the audience in on what’s about to happen? Well, odds are, if you don’t alert them, half the audience will miss it. They’ll blink or be looking elsewhere. Being caught by surprise is, it seems, not good. I’ve made this mistake plenty of times. It doesn’t just apply to stage stuff or to a dramatic vocal moment in performance, either. One can see the application of this rule in film and almost everywhere else. Stand-up comedians probably have lots of similar rules about getting an audience ready for the punch line.