Cilla Black Quotes

The very first time I ever heard anything of mine on the radio, I was in New Jersey, and I was in my teens. I did my first record, which was an old standard called 'My Mother's Eyes.' It was the old Georgie Jessel theme. I heard it on local radio out of Newark. And it was very exciting!

The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.

Then I loved the fact that we were actually recording live.

To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.

A lot of my vocals were the first time I ever sang the song.

My idea is to play with the people who you know want to get it right. Then it's fun and easy to record, and you can get down to details, like taking out cymbals so the verse doesn't dwarf the chorus, something like that.

I can remember the first time I ever recorded my vocals on to a beat. Cat Coore from Third World - a legendary Jamaican band - had a little demo set up at his house. I'm very good friends with his eldest son, Shiah, who plays with me now. So we were rhyming over a track by the dancehall artist Peter Metro. I've still got it somewhere.

From the first time you can look in the paper and you accept that you're the entertainment for some people that night, it becomes so much more enjoyable to play live.

In addition, I'm finishing a track for the movie 'Waking Up In Reno', but there are numerous other singers I look forward to recording with in the near future.

The first time I got into the studio, when I was 17, 18, I got to work with people who were some part of the Cheiron thing, who did all the early Britney Spears stuff, all the early 'NSync stuff.

Music is such a problem in the time it takes.

Playing someone drum 'n' bass for the first time in 'Pass Out' - they're like, 'Oh my God, what is this?' I'm having a lot of fun and a good time showcasing the music.

One of the reasons I wanted to do a show about Nashville in Nashville was because when I lived here, the hardest thing to go out and hear was country music. Country was taking place inside the studio and it was an export.

Imagine the first time you are about to rap in a studio and you find yourself in a booth with Redman and KRS!

I have a recording that I did of instrumental songs.

The first time I ever recorded, which was into my boom-box, I was like, 'Wow, check that out.' It sounded great. The narcotic of it was so intense - it was pleasurable. I was like, 'You sound like a band.' Then I ended up spending the rest of my life trying to chase that initial high again.

The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

I took vocal lessons for the first time and actually learned a lot about using my voice as an instrument as opposed to just doing what I've always done and going by feeling. I'm still doing that, but I've learned a lot of tricks and how to manipulate and play with my voice a little bit.

Most of those takes were one take. I made those records in three minutes. I didn't have time to get nervous or scared the first time I sang it. It was all 'live' and I enjoyed it so much.

I think I first realized I wanted to be in country music and be an artist when I was 10. And I started dragging my parents to festivals, and fairs, and karaoke contests, and I did that for about a year before I came to Nashville for the first time. I was 11 and I had this demo CD of me singing Dixie Chicks and Leanne Rimes songs.

I honestly don't listen to a lot of music - I spend so much time working at my own music.

I was never interested in singing in the church choir or in school. I was more interested in becoming a musician.

I always say that when I was recording with Phil Spector, he would not let me really sing, you know? And even to make me sound younger, he would speed the track up. He still wanted that real nice, little, quiet, sweet little sound.

I used Coldplay's mixer, Michael H. Brauer, on 'Roadsinger'; he's brilliant. He won a Grammy for their record.