Rhyme to kill, rhyme to murder, rhyme to stomp,
Rhyme to ill, rhyme to romp,
Rhyme to smack, rhyme to shock, rhyme to roll,
Rhyme to destroy anything, toy boy.
On the microphone:
I'm Poppa Large, big shot on the East Coast.
I'm more critical of my songwriting than anybody, but I've worked really hard in the last five to 10 years to improve. I didn't take it all that seriously when I started. It was a little bit of a stigma to being a songwriter or a folkie back then. I did a lot of send-ups of sensitive singer-songwriter stuff when I was starting out, which limited my development as a songwriter in a way. I wasn't really fully given license to explore that until the mid-90s. I'm still working on it; I'm a little bit of a late bloomer.
Every song has a different genesis, or feeling. Usually the lyrics, I don't really know what it's all about, I just kinda do it. I mean, there's a combination of, like you're saying, that kind of lyrics about commitment or vaguely relationship lyrics mixed with jokey 90s Beck-style non-sequiturs and stuff.
If there's a track that's rhyme friendly, the verse will basically write itself. If the track is less rhyme friendly, you have to put forth a little more effort to get the song out.
Finally I started really opening up as a songwriter and an interpreter and taking songs from all kind of genres and stripping them down to just lyrics and the story inside the lyrics, and trying to make them really mine.
At first I was laboring under the impression that Chinese lyrics didn't rhyme. That turned out to be untrue - they don't rhyme in translation.
I'm basically a songwriter, man. Songwriters are down in the fine print, you know? And I really enjoy that.
If you're a poet and you're using rhyme, rhyme generates ideas. If you're a songwriter and you're using melody and words together, they bounce off each other in interesting ways that you couldn't get otherwise, because you do things unexpectedly.
It was like I had evolved to a certain stage where I was stuck in this songwriter bag as an image. But basically at heart, I'm a rocker. And I still am. But I was caught up in the singer/songwriter bag and I wasn't really enjoying it.
Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.
I haven't written too many political lyrics. Nor have I written any pro-Canada lyrics, any kind of jingoistic, nationalistic cant... That stuff doesn't interest me and I don't even know if I could write that if I tried because I don't really feel it.
If I've got Writer's Block it generally means that I don't have that much to say or something's not quite connecting. I have had Writer's Block a bunch of times and it's generally because I'm not able to write down what I'm feeling basically. Mostly, I just need to be alone really, or be with someone who can bring that out of me.
A lot of underground hip-hop will inspire me as far as rhyme patterns - really wordy, intelligent lyrics.
Springsteen's 'Thunder Road' and Carole King's 'It's Too Late' are examples of why I am a singer/songwriter. I practice these songs every day. The melodies are timeless in the rock world, the lyrics are words that I need to say, and they need to be heard again.
A lot of people I know hate Paul McCartney in general. I guess I understand, but I'm a fan. I think he's a little underrated in my peer group - unlike John Lennon. He's not my favorite Beatle, but he's a goddamn good songwriter and he makes a lot of really cheesy, schmaltzy stuff but he's still underrated.
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.