A Quote by Ben Lovett
'Somebody That I Used to Know' by Goyte has an odd, '80s vibe to it, but that does not mean that I did not like it. Quite the opposite actually. The song is different, and slowly lured me in. The video is just as strange, but definitely enjoyable.
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I didn't have song rights for the first video because I didn't know that it was going to do what it did. So for the second video, I decided better safe than sorry. It is a really gray area as to whether or not you even need song rights to make a video like that.
I think that we definitely want to experiment, and if there's a hip-hop song that we like, we'll cover it. We don't want to be one of those bands that's like, you know, you know - Carolina Chocolate Drops does hip-hop. I mean, just know - you know, if it naturally works itself in, you know, cool.
Em reminds me of one of my friends from back home. It was just so natural. I forgot in two seconds that he was the biggest-selling artist of the decade. He knows what he’s doing. Me and him mixed [the song] together and he’s not like somebody that’s telling somebody what to do. We were both on the board turning knobs. The atmosphere and the vibe down there was just super cool.
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
It's completely unsexy [Yello, "Oh Yeah" 1985]. It does capture that weird '80s materialism and "We're gonna get it on now" vibe. But it's a very juvenile approach. It also became a weird signal for comedy, in the sense that when you heard the song, it meant comedy was happening on screen. I feel like this song was probably done in a couple of minutes in a studio.
I was in a karaoke video in 1991, for a song called 'Sukiyaki,' which is a very famous Japanese song, and I've actually heard from people that they've been in bars in Asia where they've seen me come up in the 'Sukiyaki' video that they play behind you. I'm in that. I'm in a karaoke video.
I had a great grandmother who believed in so many strange superstitions. She used to tell the future from the things that catch on to the hem of your skirt when you've been sewing, and different colored threads would mean different things... Of course, all that influenced me quite a lot as a child.
It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'
You never know how they're going to play out, but 'Pork and Beans' definitely had the same vibe as the 'Buddy Holly' video in that you just knew it was going to work.
When you write a great song, it just blows you away. When you write a song that connects with people around the world - I mean like it actually transcends language barriers - you see how it can affect people, and it's quite a tall order to follow up on.
That ain't nothing to be proud of, man. I'm not going to say, like, I'm an angel. I've definitely did some things. I just... I don't know... it's kind of corny to do that sometimes, you know? I mention it a few times, but I don't go crazy with it. I ain't a coke rapper, na'mean? I wasn't no big drug dealer neither, B. You know what I mean? I made enough to get fly, keep a little stack in the crib... couple of stacks in the crib. But I wasn't crazy with it. So that s**t ain't... I always worked for somebody. I got some other n***a rich.
I quite like to, y'know, chill and catch a vibe where you can actually talk, as opposed to standing on the floor in the club.
I know 'Hallelujah' isn't actually a Christmas song, but it has that cozy, haunting vibe that sounds like a winter's night and belongs by a fire.
I did odd plays, took up small roles. The good part was that the audience always remembered me. However, it used to be quite embarrassing when people used to ask why I was not coming in movies anymore.
I definitely like to go out and dance. I'm a big vibe person when it comes to music so a song really has to make me feel a certain way in order for me to fall in love with it.
You travel the world, you go see different things. I like to see Shakespeare plays, so I'll go - I mean, even if it's in a different language. I don't care, I just like Shakespeare, you know. I've seen Othello and Hamlet and Merchant of Venice over the years, and some versions are better than others. Way better. It's like hearing a bad version of a song. But then somewhere else, somebody has a great version.
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