Using what you have always enhances what's to come no matter if it's an album, song, artwork or whatever.
It's funny: not only with the title of the album but also the song [It's Decided]. I kind of felt nostalgic. The beginning lyric is, "There's almost a sentimental feeling to another time," and when I got together with Kevin, he just absolutely, in his own fashion, just pushed me to go deeper than I usually would want people to know. That was the most difficult part for me was to bring someone in.
Rap music and rap records used to always be like this: we get one or two shots to a piece cause it was a singles marketplace and when the major record companies saw that it could also handle the sales of the albums then they started to force everybody to expand their topics from 1 to about 10 and you gotta deliver 12 songs, so a lot of times if you took a person who wasn't really developed, and the diversity of trying say 12 different things, you know the companies were like "Cool! Say the same thing 12 different ways."
I've written 90 percent of the songs in my career, on all my albums.
Back in the day, we sampled Portishead on Nocturnal, that song "Proud" we sampled Portishead. And we used to have the [Dummy] album, 'cause Da Beatminerz put me onto the album. I had the album, every time I played it, I had this dude like, "Yo man." He thought I was so ill 'cause I listened to Portishead. "You're different, man."
I don't go into any album with a concept or a deliberate direction. It's more letting the best music that really appeals to me at the time, the best songs that I find after many months and years of search and sifting through my collection, and asking radio people and journalists. It's really an ongoing search that's as much daunting as it is somewhat exciting.
I'm very proud of all the bluegrass-oriented albums. It just reminded me and my fans that I should always record acoustic music and country records, along with anything else that I might want to do.
The only thing I can think of is my favorite album at the moment by this guy called Father John Misty, and the album is called I Love You, Honeybear. It's just brilliant. It's the album I'm currently obsessed with. It is original, and the lyrics are fantastic and [it's] brilliant. So that's blowing me away.
When I did The Natural that album was done from the perspective of a kid from Queens that was 19-20 years old who doesn't know that much about the industry.
An album takes at least a year or 8 months and I think that's too long for your fans to wait to hear you again.
I'm obsessed with the venue and the people so it's going to be really fun.The last couple of tours I didn't have anything like that because of the budget, so I'm super excited because this is really going to bring the album to life.
Mortal City was really influenced by geography. [The song] "The Ocean" is the Pacific Northwest. Southern California and New York also figure into songs, and Iowa. "February" is very much about New England. "Mortal City" is Philadelphia. The whole album is this anthropomorphized landscape where the metaphors live in this geography.
Cry Baby wasn't necessarily a baby theme but I understand what they're saying. So like, Cry Baby is definitely a remaining character throughout all of my albums.
Probably "Mrs. Potato Head" or "Training Wheels". "Mrs. Potato Head" because it was the hardest song to write and it took me a while to finish it and feel good about the lyrical content. But I've had that idea in my head for so long, especially the visuals - pulling apart a Mrs. Potato face and how that doubled as a meaning for plastic surgery. "Training Wheels" because it's the only love song on the album.
It was quite nice to get an opportunity to introduce on the second album something a bit fresh for us. For the rest of the world, perhaps it's not, because guitar is quite ubiquitous, but for us it's exciting to just have guitar on the record.
I definitely listened to Lauryn Hill - her's was like the first album I bought myself. Brandy's Never Say Never and Lauryn Hill's The Miseducation of Lauryn Hill were always in rotation for a couple of years.
I think music is a very personal thing and it doesn't necessarily have to be experienced one way or another, but the album experience is a completely different thing than the single experience.
I was always an album guy, not a greatest hits kind of guy, not so much a radio guy. I'm not saying one is better than the other but... It was like reading a novel but shorter than that. You go into a world for an hour and you absorb yourself into it rather than just passively listening and flipping through this and that.
I would have found something because I love to entertain people. I had the option to take the rest of the year off. But I said the songs on my last solo album, '24 Karat Gold,' mean so much to me. I need to get out there and sing them.
When a friend puts out a new album and it's really great, it makes you want to do something that great and it makes you get yourself in gear. It's healthy competition that helps make some great music.
I can't wait until the record label feels like it's time for my album to come out, and then just disappear.
Japanese music was so crazy! The J-pop and everything. I never scooped up an album or anything.
Producing a film is more unfamiliar territory. Although producing an album and overseeing artists is a task within itself. But film is unfamiliar territory so, here and now, that's more difficult.
I think when you're making an album, as the songs are piling up, one of the good things about it is that you will often write the song that you need.
I would say "These Days." It was the title song to an album I put out, and it's really this song that you'll hear throughout the episodes and the season in the show. I write all my music, I'm an independent artist so we do it all in-house and that song embodies exactly what the title says.
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