American singer
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</p>I'm dancing in the shadows of life And death is all around me tonight I miss you making love to me right Beside myself I'm holding you tight Someone is waiting for me to rise And drive into the ocean I cried And I cried and I cried my baby to sleep Beside myself my soul to keep </p> Right beside you I see Right beside you I stay Right beside you I'll be Right beside you always.
I used to be more dogmatic, more disciplined and segregated about my time to work; now I have to jump from one song to another, or score a scene in a movie, then get out the door for a performance at a moment's notice. The illusion of control over my schedule is totally obsolete. There is no way to say, "I can't do that right now." It's "Yes, thank you for the opportunity, whatever it takes to get the music out there."
Before I was signed, I just wanted to get into the system, even though I didn't know what that meant. After I got signed I found that I was confused by all the mixed messages from the label about what I'd have to do to keep their support. I fought and fought to maintain my identity and grow as an artist at the same time, but when I realized that to get their support on Timbre I'd have to start working with schlocky writers and totally sell out, I decided to pack up my marimba and split.
The message I got from my record label at the time — and this was on purpose — was that I wasn't selling enough. Even when the single was a hit, it wasn't enough of a hit — I never got to number 1; I only got to number 5. And MTV didn't like the first video for the song, and we had to do another one. So I never felt anything except how bad I was and like, "Oh, shame on you!"