A Quote by Gene Ween
We had been working. We had a bunch of songs written and it came time to make the record, so we had our lawyer make the call to Elektra and ask for our advance. Then, we got dropped. It was actually exciting.
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I really thought I wanted to be a lawyer, but then I had an epiphany when I was in law school and dropped out. I'd always been a journalism junkie, but I'd never had confidence to think that I could actually edit or write the stories.
When I was doing 'A Disappearing Number' in Plymouth, we had to go on an hour and a half late, and I still hadn't written an end, so we had to make one up, and then we had to go out literally with our pants round our ankles.
Our whole family had been sports oriented. My dad had played a lot of semipro but never had any opportunity to do anything with it. Back then, he had to make a living.
I had written or cowritten eight of the ten songs on 'Beauty and the Beat,' and I had written our biggest hit, 'We Got the Beat.' How was I going to top all of that?
Our first record didn't come out on vinyl, so I think that might have had something to do with actually being in a position to make sure that it came out in vinyl this time. It sounds way better.
Oh my God, there are so many songs I wish I had written. 'Waters of March,' I wish I had written 'My Baby Just Cares for Me,' I wish I had written 'This Will Be Our Year,' I mean, there's millions of them. 'Wouldn't It Be Nice?'
There's actually a time when I got cast in something and it was announced that someone else was cast. I hadn't been told yet if I had the role and I had a breakdown because I really wanted it and it was announced on this website that this other girl had gotten it. I was so sad and called my agents and said, "You guys didn't tell me this other person got the role!" They were like, "No, they haven't decided yet." Then two hours later I got the call that said I had the role.
A lot of new artists sign their deal and then go into a development stage for a year or two or sometimes never get out of it. For me, because I had been a working songwriter in town, I had a collection of songs that I was ready to make into an album. At the time, I didn't realize it was becoming an album, but it was.
I'd always wanted to do an R&B and soul record; a friend with a studio asked to come by and record a couple of songs, maybe just make a 45. Then the songs started to pour out, and pretty soon we had eight or 10 songs down.
I think I had kind of an advantage. When I was growing up, my dad had just got out of jail and he had a great record collection. He had - it was all - these were the songs. So I heard a lot of these songs, like, my whole life, so for me it was easy. I already knew what I was going to sing.
I often encountered books by academics and others who had not actually done what they had written about. They tend to create artificial simplicity; their prose doesn't have the vigor of "lived words." On the other hand, many practitioners lack the context or introspection to make their experiences and understandings transferable - and, in our time, many don't actually write the books they "author." My ideal is to unify theory and practice.
I think we had to push forward to make sure it was different, do something that we had never done before and yet still have the consistency to stay in the same world. This was our chance to do all the things we didn't get a chance to do before. We've been working on these movies [Kung Fu Panda] for twelve years and we have to keep things exciting for us in order for us to devote that many years of our lives to do this.
Back in high school, I had this folk protest band, and I used to write all the time. And then, when I got in The B-52s, we began to write collectively, collaboratively - most all of our songs are written by jamming together.
I remember when 'Aladdin' had come to India, there were a bunch of people who auditioned. We had to record a video, which I did on my phone. I had worn this red outfit and had to read the dialogues for Jasmine. The scene went really well, but then they also asked us to sing and I can't sing to even save my life. So I really got rejected.
I had no idea who Elektra was. When the producers asked me before I booked the job, I had to tell them. It was a great surprise when I actually got the job.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
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