I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
I've always done a lot of research and stuff around the songs that I write so there are pages and pages of writing and you can kind of see these songs emerging.
I was always into pop music, Destiny's Child, songs with catchy music. Even when I was writing when I was younger, it wasn't all about expressing myself; it was just about making fun music.
I can't imagine ever not making music, making albums, writing songs, doing shows. That's all I really know, and that's all I really do.
There was a period when STP and I weren't making music - we weren't getting along very good at all. But I had my studio, so I was writing and recording a lot of music. But something told me not to put it out. It was all stream of consciousness; it was clever, but it didn't really have substance.
Writing songs, making music, and singing is important to me, and I do all three.
I've always been a fan of just writing songs and making music.
When I was first writing, I was writing mostly about sporting events, which was really what my assignments were. I was working on the Tour de France bike race and the Barcelona Olympic Games, and those songs tend to be very big, very bombastic-type music, which is the type of music that I love to write.
The more I go on in this career of making albums, writing songs and playing music, the more I think of each album as a movie. I really wanted to make a film, but making a film is much more expensive than making a record.
When I first started making music, it was learning other people's songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
When I first started making music, it was learning other peoples songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.
I hadn't played any music since freshman year of college, more than thirty years ago, so I had to relearn everything. I started writing songs. Some were dance and trance songs (I listen to them a lot while I'm writing), and some were love songs, because that after all is what music is about - dancing and trancing and love and love's setbacks.
People showed me this way of dealing with music, writing songs, thinking about music and shows and our community and the fact that it doesn't have to be about being popular or fashion or making money.
If I'm not writing songs about things I've actually been through, it ruins the idea of making music to me.
What I don't like is taking it to extremes and making all these intellectualizations about what basically is simple music. It's simple stream-of-consciousness stuff in my songs. What I'm trying to get across is misinterpreted.
The people playing on these songs are from Wisconsin and Illinois and Chicago and St. Louis and there’s a certain attitude that comes across in the songs and the way that they’re performed. I’m born and raised in the Midwest, and my family’s been here for generations. This is where I’m from and how I think, and that’s reflected in the music I make.