A Quote by Colin Greenwood
We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
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If I'm recording a song, and it's kind of fuzzed out, but I've got this super candy melody, I feel nothing but freedom that I can just sing over the top, and it will be appreciated. It won't be like, 'What is he doing?'
She just kept hitting me in the head with her fists, over, and over and over.
My fingers traced the melody on an invisible keyboard—my usual way to connect with the music, to feel its emotions on my fingertips. I touched the keys softly, as if gliding my hands through water, but the musical notes kept slipping between my fingers like bubbles, waltzing away in the blue radiance.
I'm not a haiku artist, but I wanted to use the phrase 5, 7, 5 in the melody that flows over time. So the string melody, the first one is five notes, the next one is seven, and then the third one is five.
It's a magical thing, the guitar. It allows you to be the whole band in one, to play rhythm and melody, sing over the top. And as an instrument for solos, you can bend notes, draw emotional content out of tiny movements, vibratos and tonal things which even a piano can't do.
So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.
For 'Regulate,' I was at home, and I came up with it. I was listening to Michael McDonald's 'I Keep Forgettin'.' It was a record that I always loved, from being a kid and my parents playing it when they had their company of friends over. It was a record that just stuck in my head, and it just felt good.
Philly's busy enough. There are tons of record stores and record-head friends and plenty of D.I.Y. shows. It's a place where people pass through and bands don't usually skip on tour. There are lots of music resources, but it's not too over the top.
Sometime when I'm on the road, if I hear an idea, a melody in my head on the iPhone we got the voice memos. So I just record the melody or sound or the whole idea for a record.
Just ask yourself what record you played over and over again when you were depressed or what record made you really happy? Those will never change and you should never be embarrassed by it.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
Sometimes songwriters and singers forget that. They get a melody in their head and the notes will take precedence, so that they wind up forcing a word onto a melody. It doesn't ring true.
My mom had wild records, like Luther Vandross, Michael Jackson and the Whispers. But the first record I bought was 'Rapper's Delight.' It had a sky-blue cover with a rainbow. My aunt gave me money to get it, and I played it over and over on the record player.
I played 'Eruption' two times for the record, and we kept the one that seemed to flow ... there's a mistake at the top end of it whenever I hear it, I always think, Man I could've played it better ... but I like the way it sounds. I'd never heard a guitar sound like that before.
Early on, before rock 'n' roll, I listened to big band music - anything that came over the radio - and music played by bands in hotels that our parents could dance to. We had a big radio that looked like a jukebox, with a record player on the top. The radio/record player played 78rpm records. When we moved to that house, there was a record on there, with a red label. It was Bill Monroe, or maybe it was the Stanley Brothers. I'd never heard anything like that before. Ever. And it moved me away from all the conventional music that I was hearing.
I'm steeped in aesthetic theory, so I tend to bring in my own amateurish way of baring a little bit - when, in practice, I'm not thinking about that when I'm working over the keyboard, or musing over musical ideas in my head. But when discussing it, we want to have some new thought about this new music.
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