For a long time, I was shy about recording gospel music, because I didn't necessarily want to show the inside of my soul, Milsap revealed. But now, the spiritual side of me is really shining through.
Because I gave myself - I left school after the second semester of my junior year to pursue a career in music. and I gave myself five years to make it and I made it in three.
My genre of music is very eclectic. I might play some Latin jazz, or just go into a spontaneous jazz thing. That's the thing about coming to one of my performances. Not every show is the same.
You've got to go down the road you naturally go down, and for me it was pop, folk country, just feel-good music. I suppose most of my songs are very up-tempo.
I enjoy the process of composing music. The first time I hear a song, it has to bring a smile to my lips. You have to tap your feet and be able to sing the song.
For me, my number one priority always has to be the music, and I'm going to work school around my music - not music around my school.
After that I didn't listen to music as much because '70s music just wasn't... I remember all the songs, but it wasn't because I was into them, you know what I mean?
I want my music to be everywhere, I want it to be heard. I want to give people an opportunity to enjoy my music, and maybe even hear about this beautiful truth that's in it.
I wanted my new release 'Get Back Up' to benefit Haiti in their tragedy and I am blessed to use my music to help as your purchase becomes our gift.
I don't like the word 'urban' because I think it's a bit of a generalisation and they use it to class music, but I don't think it's a word that necessarily classes music.
The joy of songwriting only gets messed up if you are trying to follow up a big success, or you are trying to create a hit single, or if you have conscious thoughts of a particular outcome for the music.
I always tell myself, 'When I'm working on my record, I won't cut my hair.' I get so focused on the music that I'm not really going to the hair shop and getting cut up. I just have one thing to focus on.
I worked as a production assistant on a couple of films, and finally, I got a job at an animation studio as an editor. After that, work begat work. I got into directing music videos and commercials.
This quality, I mean Geoffrey was with me, was very easy doing - he loved me very much, I loved him very much, and we understood each other so well that it was a pleasure to make music.
With Geoffrey, it was the first time we did music together, we understood that everything could be well, and without any problem. And we didn't need to rehearse too much.
Most music that you hear is in synch with itself. We were experimenting with the music falling out of synch with itself and even though it is out of synch you mind can still understand what it is meant to be doing.
I have always loved the process of making the music, reading the letters from the fans who get married to my music, have children to my music and play my music at their funerals.
My music is very innovative, in a class by itself. Nobody else is saying anything of value. What I'm trying to do is get people to think, to alter their consciousness. It's not your typical platinum formula for success.
My big influences are Joni Mitchell, and a lot of classical and Indian music, as well as Nina Simone and the personal blues and jazz of Billie Holiday. Other influences for me include Bjork, Nick Drake, and Sufjan Stevens.
Hebrew is my first language, so it's really the most personal and the most simple. When I write in Hebrew, I don't look for sophistication in music; it's just pure emotion that comes out.
My first album was full of ideas and attempts to go in all kinds of directions. I was young. I loved making music, but I didn't have a clear path. I also lacked in confidence.
