A Quote by Josh Garrels
Sound continues to be a mystery to me, in that one could create infinite songs focusing on the same subject, but depending on the melody, instrument choice, minor or major key, time signature, etc., each song could elicit an entirely different response.
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Melodies can be good depending on the context. You can have a simple melody, and if the harmony behind it is interesting, it can make a very simple melody really different. You can also have a complex melody. The more complex it is, the harder it is to sing, and then sometimes it can sound contrived. You could write a melody that would be fine on a saxophone but if you give it to a singer, it can sound raunchy.
When you play the oboe, the flute or other wind instruments, there is something between you and the breath; there is the embouchure, the reed, etc. But with the recorder, I receive an immediate response from the instrument. This is something that attracted me to the instrument, that I could immediately feel the response of what I was doing.
The same song can have drastically different feels and personalities just by changing some minor things. A different drumbeat or some vocal overdub could completely transform the song.
Often for me, if I hear a song I know, it clicks for me and I hear it in a different way and I think, "I could sing that song. I've got something to say about that song. Wanting to connect with an audience and wanting them to rethink songs; it is actually important to do songs they're familiar with. Also, I love those songs. In a way, I think I've changed people's perceptions of what a cabaret show like this could be.
[Opetaia Foa'i] brought in the melody and the lyrics, but the lyrics were in Tokelauan, and so, we talked about what it could mean and whether this could be the ancestor song. So, I started writing English lyrics to sort of the same melody.
I could write a dozen different songs with the same three or four chords, but they'd all be entirely different.
I don't like using fourths and fifths. Instead, I'll come up with a harmony line made up of major and minor thirds above the melody, then I'll drop it down an octave so that the melody is on top and the harmony line is major and minor sixths below it.
At the end of the day, I think that music lovers are going to love me. I think the pop songs that are on my album will be loved by the pop listeners and the R&B songs will be loved by the R&B people. I think that each song has a broad enough sound that I won't be pigeon holed. At the same time I think it is appealing to many different audiences.
There's so many different kinds of songs that could be pop songs. I don't think pop songs should sound the same.
All the big loud housey songs came from the idea of 'I want to create the same song over and over again.' Except that I've created each one in a different location, or a different mindset.
If you're going to be an artist, you have to create music that moves you, and to not try to fit in so much with what's happening around you. It's a career choice. I could have done other kinds of songs that got me in the radio or Top 10, but I wouldn't feel proud of the work. I come up short when I create music I don't like, and fans can tell too. The goal isn't to get into it to be famous; the goal is to perfect your craft and create your own sound.
I felt like I could get away with calling it Black Hours. That could easily be the most depressing record ever written, but because there is this sense of fun throughout the whole thing I felt like I could get away with it. Like "5 A.M."; that song's in a minor key and I'm just wailing away and it could have been just wallowing depression, but it's not.
A lot can be said with just a look, or the way the body moves. Each song is a different character. So each song takes on a different movement of the body. And the body has to go with the subject and the attitude that you have toward that subject.
'Something More' is a song that I wrote not necessarily about country radio, more so about a lot of songs that were being pitched to me. I wrote that after song after song after song was just the same song, just a different melody, so I was just looking for something more to put on the record.
If I was writing a song one night, I would leave the studio and come back the next day, and if I could remember the same melody on the same song, it was definitely something worth working more on. If I couldn't remember it, maybe there was a purpose about that.
When I start to write a song, I have the words and I have the melody, and then it's just a matter of making it to the end. I think if I have something that I could identify as a talent, it would be that I can finish a song. I kind of know intuitively where the melody should go.
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