Quotes About Collaboration

It's vital to understand where you may have gaps in your knowledge or experience and to surround yourself with a team that complements that.

When the chair of an investigating committee refuses to share vital findings or source information with any of his colleagues, his committee's ability to function has been fundamentally undermined.

Collaboration is a vital part of my creative life. I've had success with Guy Clark and Waylon Jennings and Johnny Cash.

It's vital that communities actually get something back in return for seeing their area developed.

You know, it's vital for me, when I take a job, to work with people I can enjoy working with.

Unity is vital for any party to win.

It's interesting to help someone find their vocabulary. There would not have been a De Niro without a Scorsese.

We're looking to help our guitar buddies do their thing while at the same time we try to create something we might enjoy listening to ourselves. If anything we are trying to develop a vocabulary so we can converse more fluidly.

Actors always feel more comfortable when there's an actor directing, in terms of vocabulary and breaking down a scene.

In the Eagles, you have specific assignments. You have vocal parts and musical parts that need to be exactly in place at the right time. And if all of us do our job, it becomes something bigger than any of us.

I felt I never needed to fight for a more prominent songwriting and increased vocal role with the Cars.

People would call me up because they liked my voice, and they wanted some kind of vocal harmony. Sometimes I was asked to come in and sing all the harmony parts, and sometimes I would sing with other people.

Toplines usually suck. I'll send a song to a band or artist whose entire body of work I love and I'll ask them to do a vocal for one of my songs and I'll get it back and I'll hate it so much. It might have to do with my possessiveness over my music.

I don't dictate the solos and I don't dictate the vocal harmonies.

I wouldn't say I worked with these people because I was looking for a particular vocal sound. I worked with them because I loved what they had done before-and because they really wanted to work with me.

But my role is to just apply the skills I've learned over the years: you listen to the guitar, you listen to the vocal melodies, you listen to the rhythm, and you come up with something that helps you take the song somewhere.

For me, songwriting starts with a melody. When a musician plays a chord progression, either the words and vocal melody come to me, or they don't. That's how I determine who to write with. It works, or it doesn't.

It's so much fun to have vocal groups out on the road because we get to see them do their thing, and at the end of the night, we come back, and we all do a big thing together for the encore with 'American Band.'

Because I write the music, I write the lyrics, I write the vocal melody lines - I write everything. Just because I let somebody sing something doesn't mean they're more important than the bass player or the keyboard player or the drummer.

I do loads of pitch writing as well, where you write a pop song and then pitch it to DJs who can then work with the song, and sometimes they keep your vocal on it. It's just good to be involved in different things.

You need people who are vocal on the pitch to give information at different times of the game.

Almost every time, if the vocal is really good, the band is almost always good too.

I try to find a vocalist that I don't have to make better. I try to find a vocalist that can make me better, and in turn, I can make them better so that we are, as a team, making ourselves better. I like the vocalist to challenge me. I love to challenge a vocalist.

We used to have a main female vocalist. But she had a baby. Now we do the singing ourselves.