A Quote by Borns
I was pretty young when my folks were playing those kinds of records, '70s rock and psychedelic stuff. So I just remember those songs being synonymous with my childhood, and I was always trying to imitate them on piano.
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I bought a Three Dog Night album when I was pretty young, and I remember listening to all those songs. That's just greatly crafted songwriting, and the songs have such great harmonies. I remember marveling over those and trying to figure them out on piano. That was my early education - figuring out records, older records, as a kid.
I love listening to old records. Stuff from the '70s, even disco and funk records and a lot of early rock albums - what's great about those recordings is that you can actually hear the true tones of the drums themselves.
I got really sick of playing just, like, 'Bop-bop-bop-bada-bop-bop-bada-rapa-pah.' Just playing that 190-beats-per-minute punk-rock songs, I didn't feel it anymore. And I always loved melody - when you looked back on those early records, there's always a hook buried in there somewhere.
... so much of what we do now started in 1954 at Sun Records in Memphis Tennessee ... those guys were inventing that stuff (Rock & Roll) ... you can really tell on some tracks ... they were actually afraid at times of what they were playing. But Rock & Roll definitely didn't come before that time; it started right there
I started writing songs when I was real young, when I was 3 years old. The piano spoke to me - I don't remember when I wasn't playing piano. My second grade talent show was the first time I performed my own thing. I dressed up as Dracula and played a song called 'Monster Rock' that I wrote. And I won.
I like those kinds of songs that have details that you remember and that have stories that mean something and that open up into different levels philosophically. I like those kinds of movies, and I like those kinds of books.
I write all the time, and I write a lot of songs, but before I started putting out records, those songs always just ended up on stuff that I did with The Babies.
I write all the time, and I write a lot of songs, but before I started putting out records those songs always just ended up on stuff that I did with The Babies.
There are certain records from the 80s and early 90s that you love because the songs are great, but you don't go to them as an example of great production. Over the last 20 years, myself and a lot of other musicians my age have tried to discover things in 50s, 60s, and 70s recording techniques that were lost or discarded. We've all been trying to crack this code. It's been an important period in the last 15 years, reclaiming some of those lost approaches to making records.
Brian Eno records and music got me through. It made me feel like there were other people out there who had the same questions and fears and unhappiness. Particularly those kinds of artists who were writing songs about exactly those things.
My father was always playing the piano. He played all kinds of music - Gershwin, all kinds of stuff.
I remember writing a song when I was about 15. This is the one I can remember. I know I'd been writing poetry for a long time, since I was about eight, but I remember my first one that I put to chords. I was really trying to be like the psychedelic era Beatles, I was obsessed. All I could think about was Beatles and Hendrix. So I tried to write a psychedelic song, and it was the worst. I couldn't even... If I read it now - I still have the book somewhere - it makes me cringe out loud. It was just about psychedelic stuff.
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
A lot of those early blues records and soul records were pretty much live. It was what it was, and they had goofs and mistakes, but it still kept its charm. We have to remember to keep the feel. It's so important.
My father was always playing the piano. He played all kinds of music - Gershwin, all kinds of stuff. He was really a hugely encouraging force to me when I was little.
Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.
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