A Quote by Black Thought
For some music, lyrically, the best move is to keep it simple in what it is that you are saying, and just kind of come across in your rhythm and the way that you lock in on the music.
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Who is my role model and how long can I keep this going? I just move around and do different things and come back to music, try making films and come back to music, write children's books and come back to music.
Everybody's looking for some kind of authenticity in music. Or some kind of truism, you know, "This is true!" And the thing about gospel music is, these people are singing about their faith. So it always comes across with, as authentic, you know? Gospel choirs put across this amazing sound but they're singing from the heart because they truly believe it. And I kind of have that faith, but I just have that faith in music.
And if a few other people come along who discover my music because they in some natural way come across my music, cool.
In an odd way I thought I was lowering the bar for myself, in saying, well, I'll make a pop album. But in a way it's kind of harder to make pop music. It's like the more abstract you get with music, you get into that emperor's new clothes thing, where you can go anywhere, and just claim that your audience may not be prepared to go with you. But with pop music, I think everybody understands the form, everybody knows what it's meant to do. So I would say it's harder to write that kind of music.
I think, when all bands start, when you're on your first album you have the benefit of hoovering up people who genuinely come across the music and really like it, but also those sort of 'floating voters' who just like pop music when they're young. And I think that when you get to your fourth album, those floating voters have dissipated and you're left with a core audience, and at that point you've really got to get your act together and move on to something else to keep afloat, or you'll just shrink with your core audience.
I'm kind of lucky in the fact that I can take something that's in my head and write it down, or I can listen to a piece of music that somebody else has written and try to tap into what the music's saying and just kind of follow that, you know. I mean, nine times out of 10, I'm just kind of following where the music takes me.
Some music, it's meant just to make you dance and be able to celebrate and get away from all that kind of thinking. And so, I think it is important if you think your music can do that - to keep doin' it.
I would find myself being inspired by things that I've heard as a kid: Nigerian music or African music, some French music or some Jamaican music. When it's time for music to be made, it's almost like my ancestors just come into me and then it's them.
I keep recycling and repackaging music that I've done in the past, as though I can't write anymore. Like, okay, I'm done with that. But I need to kind of prod myself again into come on, Herbie, get off your duff and start writing some new music.
My goal every time I make a record is just to make the funkiest, the best music I could possibly make, both lyrically, and music-wise.
I can certainly see a band like Nirvana, like when they started having to play to the kind of guys that beat them up in high school - that was probably shocking. But you make music to move people and you don't get to pick who you move. You just don't. It's exclusionary and elitist and I just never felt that way about music, of all things. The great unifier.
Whether in music or in fiction, the most basic thing is rhythm. Your style needs to have good, natural, steady rhythm, or people won't keep reading your work.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
You make music to move people and you don't get to pick who you move. You just don't. It's exclusionary and elitist and I just never felt that way about music, of all things. The great unifier.
Dancehall music is perceived as party music, which it is because of the rhythm, but there are messages that do come through or a purpose of an artist saying something to the world. People usually don't get the messages because of the partying.
I'm obsessed - not just interested, obsessed - with folk music, street music, the parallels between a country's street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interaction fascinates me. Have you heard any trance music? That's the thing.
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