A Quote by Al Yankovic
My process for the parodies is that I get an idea for a song and then get approval from the artist and then go in and record it and probably try to get it out as soon as possible.
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You're not going to hit it every single time, and that's why, when I record an album, I do probably close to 50 songs. Each song I record has to get better. If it's not better than the last song that I made, it'll usually linger for a couple of months, and then it'll be put on the backburner, and then there'll be another song that I do, and then it often doesn't make it on the album.
I start out with words, with the idea, the line. Then after I get a line or two, I try to find what melodic line those lines would be suited to. As soon as I find the form I can finish the song in my head.
I think 12 songs is too much to listen to all at once. When I buy a record, I get to the fifth song, and then I don't get to really hear the rest of the record.
[A]s soon as you try and take a song from your mind into piano and voice and into the real world, something gets lost and it's like a moment where, in that moment you forget how it was and it's this new way. And then when you make a record, even those ideas that you had, then those get all turned and changed. So in the end, I think, it just becomes it's own thing and really I think a song could be recorded a million different ways and so what my records are, it just happened like that, but it's not like, this is how I planned it from the very beginning because I have no idea, I can't remember.
The bottom line is, don't be a lifer. Get in, get a business, get five years of what you can, and get out. What happens is they start listening to the promoters, 'You'll get the next main event.' And then, all of a sudden, you become a lifer. That's the kiss of death there. Get in shape, go in, get the money, get out, and have a wonderful life.
Entrepreneurs see the thing they want or need, then try to figure out a process of how to get it. People who shouldn't be entrepreneurs see the standard process they need to go through to get the thing they want or need then decide if they want to go through that process.
Writing is like everything else: the more you do it the better you get. Don't try to perfect as you go along, just get to the end of the damn thing. Accept imperfections. Get it finished and then you can go back. If you try to polish every sentence there's a chance you'll never get past the first chapter.
I sit around for ages waiting for inspiration. Then when I get an idea, I want to go with it and get something as quickly as possible. It's like catching a fly in a bottle. I'll play with drums for a bit, then the piano for a bit, play the guitar.
I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
I think festivals are way more easygoing than back-to-back tours are. 'Cause for me, when you get to go to a festival, you get to hang out all day, and you're really taken care of, and there's usually a little artist village where all the artists have their own tents, and it's catered, and then you go and play an hour-long set depending on where you are on the lineup. And then you go back and you hang out and you even get to go watch other artists play. So it's really just a fun interactive experience for everybody.
I try to get away from the pits as quickly as I can. I speak to my engineer when I get out of the car, usually there's some press to do, then I will go off and have a shower and get my dry, clean overalls and clothing on. I'll have a massage, stretch and something to eat. I don't sleep, but I try to close my eyes for a while.
Writin songs is like a mystery. The most difficult thing to do is have a good idea. If you have a decent idea, the songs are the easy part. Actually having something to say is the hard part. If you get an idea for a song, then it pulls you along. There are just some ideas that you get that are really hard to edit out; it's hard to stop thinking about some bad ideas. So you just finish it and you end up putting it on a record.
When I start writing a new imaginary future, I have no idea what it is. The characters arrive first. They help me figure out where they are living and I get to fill in the gaps with that and where we are. So when I get to the end of the process of composition, if I feel that I have really done my job, I have no idea what I've got - and I then spend essentially the rest of my life figuring out what it might mean.
'7 Years' is, you could say, a song that eats its own children. That we need to get past the song and get to the person and get to the record and get to the music so we can keep releasing.
My job is to get to the heart of a story, to find out what's really going on; to get it verified and, then, to get it out to as many people as possible as fast as.
Everyone is told to go to high school and get good grades and go to college and get good grades and then get a job and then get a better job. There's no one really telling a story about how they totally blew it, and they figured it out.
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