A Quote by Eddie Murphy
I can go to a country song, go right into it and make it sound authentic. And I think that's because of my ear as an impressionist.
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It's important for me to be respected and to be thought of as authentic and true to myself. So even if country music won't play my music, I'm not gonna go and record a party song or a truck song just to try to get spins. I have to be authentic to myself.
I don't really think there's a genre that we couldn't do, but it wouldn't sound like that genre, if that makes sense. I think we could take any song, but it would sound like us. If you're doing a country song, it could maybe sound a little bit country, but it's going to sound like Pentatonix.
In The Go-Go's, my philosophy is that I contribute whatever the song requires. I never think, 'What can I put in here to show off the latest trick that I just picked up?' What I think is, 'What's required from me as a drummer to make this a better song?'
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
I have a notebook that I take with me everywhere. I free-write in it when there are situations that I know I can write a song about. I will just start writing everything that I can think of while trying to write some things that are kind of poetic or sound like they could be in a song. Then, after the music is written, I go back and look at my subjects to see which one I think woud go with what music. Then, I formulate it into a melody and get the song.
There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.
I am a firm believer in playing the type of music that compliments the song the best. If it's a folk song make it sound like one. If it's a rock song make it sound like one, if it's a rap song take it off the record.
I don't know rap. I can't tell you a Tupac song. But you put on some go-go, and I'll know it word-for-word. That's why I feel like I got my own sound - or a D.C. sound.
Every part of every song can have a totally different musical sound, because otherwise if I wanted to go from a verse of one song to the chorus of another, I'd have to go: "Uh, okay, press that pedal and then... press that pedal, and then press that pedal off."
The group Bananarama has such a light, cutesy-pie sound that they make The Go-Go's sound like Led Zeppelin by comparison.
It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun.
The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.
It's a funny thing, in the US we all believe that we have a right to go to school. We have a right to a good education. And we don't. The U.S. Constitution contains no right for a child to go to school, let alone for a child to go to a good school. And yet, we know that if they don't go to a good school, they're less likely to be able to realize all that this country has to offer.
A scale is just the notes that are in a chord played one at a time instead of together. That's what has allowed me to go through the possible notes that work with a chord and make choices about which ones I like best. I go through by ear; you can do it by theory too, but the best way is to learn by ear.
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
You've got to make sure every decision you make is right for you as a person. If you think you can go to a better club than the one you're at, then, regardless of what anyone says, you should go.
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