A Quote by Harvey Mason, Jr.
When we do R&B midtempos or ballads, there's an Underdogs sound.
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We may have limped onto Broadway as the underdogs, but underdogs bite back occasionally.
One of the problems with trying to help underdogs, especially with government programs, is that they and everyone else start to think of them as underdogs, focusing on their problems rather than their opportunities. Thinking of themselves as underdogs can also dissipate their energies in resentments of others, rather than spending that energy making the most of their own possibilities.
I think up until the 'Honestly' album it was very much label-company lead, of 'this is a sound that we need, this is what you need to do. You need to do ballads, you need to do a million different types of love songs,' and I hate ballads and I hate love songs.
We constantly try to change and stay fresh. We've done a lot of different styles of music: R&B, hip-hop, rock, orchestral. So when people hear us doing a rock'n'roll record or a movie like "Dreamgirls," they'll say, "Hey, that doesn't sound like an Underdogs sound."
Look, when we go as favourites, then it's a problem, but if we go as underdogs then other teams feel the danger, so I think being underdogs is good for us and eases the pressure.
From all the years that I've been in the business, you know that ballads are what impact. Mid-tempos are great, you can sell some records on 'em, but when it comes down to it, ballads are the meat-and-potatoes on the album.
Maybe you could put it out there that I don't have a built-in dislike of ballads. That was kind of the reputation I had back in the Seventies. But I've come around. Ballads have become something of an acquired taste.
You can ride your bike to anywhere in Portland if you want to. I think there was a charming underdog mentality when I first moved here in the late '80s that is definitely gone. People acted more like underdogs, dressed more like underdogs.
My favorite type of music to sing is definitely those big ballads, I just love doing those power ballads.
I dated someone in the '90s who was really into Metallica, and I remember thinking at the time, 'That just sounds so heavy and hard.' But they have great ballads! Great ballads.
The Border Ballads, for instance, and the Robin Hood Ballads, clearly suppose a state of society which is nothing but a very circumscribed and not very important heroic age.
You know why I quit playing ballads? Cause I love playing ballads.
My sound definitely pays a lot of homage to the Nineties, but not just the dance music. There's also breakbeats, R&B, the big ballads. It's that whole era infused with very modern sounds.
I did Bronislaw Kaper's tune. He wrote "On Green Dolphin Street." I mean, I did all those ballads, all them ballads from South America. All those tunes - the guitar concerto on Sketches Of Spain. All those are Spanish melodies. Some of them we made up ourselves.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
I'm a big fan of the underdogs.
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