Keren Woodward Quotes

One of the main things I look for in a guitarist is in the sound itself. I go for a certain sound, and I think it's an important thing for making a player more identifiable in the big giant pool of musicians out there. You want a sound that people will recognise just as much as your playing.

You know, people always ask me how I describe my music. First of all I tell them that's their job and then that also one day I hope to have things referred to as Martha Wainwright -esque.

What I can offer the game is creating a sound that, when you hear it, you know it's mine.

You can't have 12 records on your album and none of them sound alike. You gotta kind of have something to make them say, 'That sounds like Rakim.'

When you hear me, you know it's me, regardless of the song.

I try not to repeat myself in fills in all the Rush songs unless it is something simple or something I feel is my own characteristic thing.

I think of a band like Animal Collective where they really follow their own sound and I think that's a really important thing to do. You can find an audience if you can find your voice.

If you have music that sounds like what you cover, people won't be able to differentiate who you are.

I think Westlife is very unique: we have a certain sound; we do our thing our way, and we don't try to change too much. I think that's what the fans love about us. We keep giving the fans what they want every year. The style of music never really changes too much.

As a horn player, the greatest compliment one can get is when a person comes to you and says, 'I heard this saxophone on the radio the other day and I knew it was you. I don't know the song, but I know it was you on sax.'

My voice makes the genre because I sound like me on all my songs - I've made my own genre: Jorja Smith.

It's either you finna create your own wave, you finna sound like me or you finna sound like G Herbo, you finna sound like Chance The Rapper, you finna sound like Juice Wrld. You ain't gonna get too far 'cause you sound like somebody. So, create your own lane and do your own style.

Coming up, a lot of people I looked up to had a signature sound, but I came up, and I was always in search of one, trying to find it, trying to create one. I was never really able to have a creative signature sound, you know?

All my music sounds the same to me.

I wanted people to understand that I have my own music, and I didn't want to sing other people's songs at shows.

I made that a point when I was creating my sound from the beginning, I didn't want to sound like anybody. Once I kind of found my own sound, I mastered it.

I've established a certain voice over my albums. It can be an obstacle, but in the end, I think it's a strength, because I can build upon that voice, which is ultimately very much mine.

I feel like the falsetto is my niche and my sound and something different.

Honestly, I never felt like I wasn't an artist on my own. I always felt like the music I made was mine, whether it was part of a collaboration with people.

I think that for every artist, it's very important to have an output and to feel very strongly about the music you're producing.

In terms of the production, the style I use is what I see as the 'Lisa Stansfield sound' and I would hope that when anyone puts on one of my songs they don't even have to listen to my voice to know this is a Lisa Stansfield song, because of the way it sounds.

Of everything I've done in my career, or whatever you want to call it, 'Lost' is the purest version of me musically.

I think it's important to add a personal aspect to your music - that's what makes it authentic at the end of the day.

I don't try to copy anybody - I mean, I'm not trying to become another Sinatra. I merely sing the way I speak.

I don't usually collab with producers, because I don't need to. I never have, because I don't want to break my style of how I do things.