A Quote by Adam Granduciel

I don't like drums dictating the song; like when you hear a fill and then you know the chorus is coming up. — © Adam Granduciel
I don't like drums dictating the song; like when you hear a fill and then you know the chorus is coming up.
Once the song is done and recorded, I like to go back and then cut the drums, because then I know exactly what the song needs, and what it doesn't need.
Normally you'll have a structure to a song. You'll have an intro to a verse to a pre-chorus to a chorus, kinda repeat that, maybe there's a bridge, then you'll go out on a chorus - that's the quintessential song structure - sometimes you might do a fake-out, re-do a pre-chorus but the chorus doesn't come until later, but for the most part you follow these tried and true structures.
When the Beatles wrote 'Paperback Writer,' it couldn't have been the same old thing. You can hear so many influences in it, from the blues to Bach, and it's not just verse, chorus, verse, chorus, bridge chorus. They start off singing a cappella, almost like a Bach chorale, and the song goes into this bluesy guitar riff.
Whenever I hear somebody cover a song, I don't like to hear it stray too far from the original. I like to hear some of the new energy that a band will put into it, but you kind of want to hear some of the basic parts of the song. I mean, that's what makes it the song that you like.
I almost gave up on 'Door' so many times. I couldn't crack it. It started out as a simple song with just a chorus-verse-chorus. I felt like it needed to transform more.
"Face Again" is actually the most George Saunders-y song. Basically the verses, I'm describing a world where love is being killed, and then in the first chorus, I'm sort of protesting it. It's like, "I don't think you know what's best for me." And then by the end, it's like I've given in, and it becomes very desperate.
I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise.
I feel like, when you turn on the radio and you hear a great song, you know it's a great song, and you sing along. We all know what a great song sounds like, so we all have that instinct, it's just being able to accept your own instincts when you write that song.
Sometimes I write a song and I'm down with it but I'm like yeah, whatever, and then everybody loves it and then it blows up. I'm like: "Okay! I didn't see that coming."
You hear a song like 'Wait For It,' you hear a song like 'Dear Theodosia' - if you get one of those songs in a musical - one - it's worth dropping everything to sing that one song.
Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.
There's something about making a song that everybody can sing and remember, and when you listen to it the first time, you already know the words by the second chorus, like you've always known the song. I'm obsessed with that idea.
If when you hear a song by OK Go you conjure up thoughts of a gigantic Rube Goldberg device or treadmills or drones or perfectly executed dance routines, then you know that this is a band that is masterful at coming up with amazingly creative music videos.
What's really cool about 'This is Me' is that our friends loved the song. Older punk rock fans don't know 'The Greatest Showman,' haven't seen the movie. And they hear that song and they're like, 'This just sounds like an awesome New Found Glory song. This is a really good song.'
I was living in different accommodation and it was never in a place where I could set up my drums and play, so my drums would end up back in their cases and then in the garage. In the end I got used to the drums being locked up, I went a good eight years without touching drums.
Producers like to record all the drums first, then they do the bass, then all the guitars, so you're constantly moving from one song to another.
This site uses cookies to ensure you get the best experience. More info...
Got it!