A Quote by Jason Pierce
Making a record's a real fight for me. I'm constantly fighting with this thing inside of me that says I should be sitting in a room with Matthew Shipp or I should have Han Bennink on drums or this song should be playing for the next 20 minutes in my head, not a silly little pop song. It's constant.
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We have this song called 'Radio,' and I wrote that song when we needed one more song for a record. So I went back into the other room and wrote it in 20 minutes.
A good song should give you a lot of images; you should be able to make your own little movie in your head to a good song.
I sang my song called "In This Song." David Foster wrote the song for me. I thought that I should sing a ballad song.
But the reality is when you write a song, you should be able to strip away all the instruments and just have a song right there with an acoustic guitar and a voice, and the song should be good.
Every day somebody comes up to me and says, 'That song really helped me through a difficult time,' or 'That's me and my wife's song' or 'This song means something to me because of... ' It's humbling to hear that. You're something special in someone's life, even if it is for three minutes.
I've just had this idea pop in my head of trying to learn a new song every da, and try and play it that night. That's been fun for me because it's a little bit of a scary adventure, playing a song for the first time in front of people and letting it just be what it is.
I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or Sherry, I should be able to do that. Or a Dylan song.
I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or 'Sherry,' I should be able to do that. Or a Dylan song.
The first line of the song is always the hardest thing to write. And then after that, the song should - unless it sucks - it should write itself.
I realized probably when I was, like, 20 years old that the hardest thing to do is to write a pop song - not, like, a candy-pop, throwaway pop song.
Mentally, I write myself a little story. Of course, sometimes you have a song that says, "Do that." My best example is Singin' in the Rain. Arthur Freed had insisted that the song should be in the picture, but he was very anxious about it.
I was just fooling around with the piano and Todd [Phillips] was like, 'Hey there's a great spot in the movie [The Hangover] where we need a little bit of a breath in the narrative. You should write a song and stick it in there.' And I was like, 'Well, what should the song be about?' And he said, 'The tiger.' 'Oh, okay.' So I went off and I wrote this song. I came back and Todd and I tinkered with it a little more and then we shot it right then. It all happened in a day.
If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.
That was the coolest thing about 'Baby Got Back.' The establishment didn't embrace the song, which is what kept me from being the next pop guy to fizzle out and get laughed at, get dissed on TV. That helped save me. The fact that MTV banned the record made the record, in a weird way.
I labour over details and whether a song should be a straight pop song form or exploratory. This is the curse with doing things by yourself.
A great drum record has to sound good; in fact, it should sound special. It should capture the richness and the actual tones of the drums themselves, regardless of who is playing.
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