There's at least one fist bump every interview.
I get annoyed with movies or books, songs or records that deliberately try to make you feel a certain way.
Every record turns into whatever the listener gets out of it.
As a producer, I like to bring in unexpected voices, unexpected musicians, like Watt and Joey Spampinato of NRBQ.
In order to make a normal-sized record, a singer songwriter should have a couple dozen finished songs. Once they go through the process of production, the ones that scream out at you that they're finished are the ones that make the record.
The production process has a great way of bringing songs to light and that's a big part of it.
It's a hard thing to explain, but the more I arrange for strings, the more I realize the possibilities.
If you think of the way Howlin' Wolf made records, you get the feeling there wasn't a production manager onsite, or a publicist having his say on how he should sing the songs. When you listen to his records, you feel like you're tapping into his voice.
I just want the songs to have the staying power as my favorite songs. If you listen to any Hank Williams song, when you're in a good mood, it's going to put you in a better mood. If you happen to be bummed-out, you're going to feel maybe a little more bummed-out and better at the same time. At any time in my life, his music has had meaning and value to me. If a song can shape-shift in that way, that's a sign of success.
Try to take your vision and ego as far away from the song as possible. Give as much respect as you can to the song and the initial inspiration.
My favorite recordings are the ones that feel like there were no middlemen in the creation. That's the biggest problem with most films and records being made today - too many people involved. I think it dilutes the artist's intent and inspiration.
My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.
I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
Even though someone has died, a piece of their spirit can still be alive. That's an exciting world for me to take music into, or to attempt to do that.
I remember when I was 5 or 6 years old, gospel music felt familiar, like I had heard it in the womb or something. A lot of those old gospel songs still give me that feeling, that it's older than time and there's actually music that can tap into a universal subconscious, or whatever word you want to put on it.
The way that I'm working now is basically the way I've been working since I was a kid: Find the greatest artist in whatever you do, and rip them off with respect. I think there's a big difference between ripping off with respect and ripping off in disrespect.
I went every Sunday to church when I was growing up, and I think that music had an affect on me before my memory can recall.
When I started to take literature and poetry classes, I just started to get inspired by these new incredible works of art that I had never seen or heard of before. I wrote a lot of bad high-school poetry, just like pretty much everyone did, I think, at some point. For me, the inspiration never really stopped.
I got into one Metallica record. That was about it. I never got into AC/DC or Black Sabbath or any of that. I was interested in the side of heavy metal that had interesting guitar ideas, but that was a very short-lived thing.
I don't like the way recording to digital sounds.
It was endlessly amusing to me to try to imitate John Lennon and Paul McCartney's harmonies using the guitar.
From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.
When I was about 15, I picked up the guitar and learned how to play by going through Beatles chords books. I got this Christmas gift with the entire Beatles catalog.
When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas. Eventually, that process of using my voice to bring ideas across became more complicated, and I felt I could use it more as an expressive tool.
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