Zitat des Tages über Balladen / Ballads:
I like to sing ballads the way Eddie Fisher does and the way Perry Como does. But the way I'm singing now is what makes the money.
During the 'ballad' years for me, the politics was latent; I was just falling in love with the ballads and my boyfriend. And there was the beauty of the songs.
The idea of songwriting is a transformative thing, and what I do with songwriting is take situations that are quite ordinary and transform them in some way. Apart from things like the murder ballads, the songs I write, at their core, are quite ordinary human concerns, but the process of writing about them transforms them into something else.
One thing all the way through the show to me is boring. I don't care how great the artist is. I find that if my audience is very young, and they want to hear very young songs, my show will be dominated by that. But there'll be some ballads here and there and some swing tunes.
I do appreciate the '80s as an era, the general sounds and aesthetics of the era. The Cure, that whole kind of image is really kind of amazing, I think. The power ballads and how everything sparkles and words are really dramatic. Huge drums, things like that. I do really find it inspiring.
And when power ballads come back, we'll get big hair again.
In nearly all ballads, the words set the mood and meaning, while the music intensifies or enhances them.
When we do R&B midtempos or ballads, there's an Underdogs sound.
The genre I listen to the most is salsa, so people look at me and see this guy who's done mostly romantic ballads, but there's always been this other side.
I subscribe to that school of thespian - to be a wandering minstrel or traveling player, a thing ofrags and patches, of ballads, songs and snatches.
I was kind of known as a ballad singer. People would send ballads. Some of them would go over my shoulder and float off the top of my head, and I just didn't feel anything. Then I would hear a song that would absolutely shake me.
I started to write a lot of ballads that were sultry and had a Norah Jones-for-country kind of feel. I wanted to bring elements of old soul music and old country music.
George Benson conquered many different genres, from pop ballads to R&B to jazz.
Even on the most serious ballads, I'll throw in a tongue-in-cheek remark.
I think that ballads are always something where I can really become one with the audiance.
I'd like to do a pop album with an R and B influence. I definitely want to have those big ballads with the uptempo hits as well.
It's true, there's a lot of melancholy in my music. I don't know why, I'm not a melancholy person. I've always been drawn to it. Ever since I was a kid, if I had an album I would play the ballads on repeat.
On 'Idol,' you have to show off your vocal abilities, so I stuck to the ballads, so I'm glad my first single is 'Tonight' so I can show off my fun, young side, and what I want to do as an artist.
The British ballads became a new kind of form in their hand. And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.
I also plan to release a ballads collection.
I have always been a sucker for ballads, but you have to be careful these days, you can't overload people.
The true treasure lies within. It is the underlying theme of the songs we sing, the shows we watch and the books we read. It is woven into the Psalms of the Bible, the ballads of the Beatles and practically every Bollywood film ever made. What is that treasure? Love. Love is the nature of the Divine.
I do sing ballads, but I'm not a balladeer. I'm not the next Celine Dion.
I didn't want to be a solo Westlife - covers and ballads - and the reason I signed with Capitol Records was because they wanted me to write songs myself. It was pretty scary, but they put me in a studio in Nashville with some new songwriters, and the results were pretty good.
From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.
I grew up singing ballads, but what I really wanted to get into was the mainstream music on the radio because I really love the beats and everything.
I don't just do power ballads. I have a lot of up-tempo stuff, too - like 'Can't Fight the Moonlight.'
I love ballads. I'm not into fast songs. I love to put my heart and all of my feelings into a song.
I'm not going to do a song that's really sad and thoughtful. Although I've done ballads like 'Dear Darlin',' I want to make them dance and be happy.
My sound definitely pays a lot of homage to the Nineties, but not just the dance music. There's also breakbeats, R&B, the big ballads. It's that whole era infused with very modern sounds.
I tend to gravitate toward ballads and mid-tempo songs.
I've recorded in Portuguese, too. I didn't set out to just sing ballads or romantic songs.
When I was making my second record, I was in studio, and I was like, 'No more ballads! Absolutely not!' And somebody walked in with 'The Man I Wanna Be' and I heard it and was like, 'Ah, crap!'
Maybe you could put it out there that I don't have a built-in dislike of ballads. That was kind of the reputation I had back in the Seventies. But I've come around. Ballads have become something of an acquired taste.
You can hear 'Human Nature' all over our song 'Elevate.' It's an amazing song. That hooky arpeggio in the beginning is great. Unlike most Michael Jackson ballads, even though I'm a huge Michael Jackson fan, this song is kind of restrained. It's not a huge, crazy song you can dance to - it's just this beautiful piece of music.
I dated someone in the '90s who was really into Metallica, and I remember thinking at the time, 'That just sounds so heavy and hard.' But they have great ballads! Great ballads.