A Quote by Kaytranada

The way I picked the tracks for '99.9%' was based on the feeling of, 'Is this going to be a hit?' I wanted songs that people would immediately hear and remember. — © Kaytranada
The way I picked the tracks for '99.9%' was based on the feeling of, 'Is this going to be a hit?' I wanted songs that people would immediately hear and remember.
I wanted to hear the songs in the way that I had written them, which was very basic. All I wanted was drums and another guitar, and I was just going to sing.
I wanted to hear the songs in the way that I had written them, which was, in a way, very basic. So all I wanted to have was drums and another guitar pretty much playing what I wrote on guitar, and I was just going to sing.
I remember, when I was very young and going to the Fillmore East and watching three of my favorite bands in one night, I'd want a hit. I want to hear the songs that brought them to that pinnacle of success.
I picked and co-wrote the songs that if I was a guy who would be spending my hard-earned money buying an album I would want to hear.
When you make a record, you probably are not going to hit exactly what you were aiming for. You also have to let go at a certain point, and just trust it. I remember feeling we had fallen short, or that it had fallen short. At the same time it was great to see a good critical reaction to it, and to hear people were enjoying it, which made me think, "Well, maybe it's a good thing I didn't get exactly what I wanted." Now we're testing that theory.
I wanted to be different and original but still have it be something my fans could get into. There also are some big, beautiful ballads. I told my producers that I wanted tracks that are going to blow up in the clubs, but I also wanted songs that were very melodic and with a lot of instrumentation.
Actually, if I could deliberately sit down and write a pop hit, all my songs would be pop hits! Let's put it this way. I play what I like to hear. And sometimes I like to hear something poppy, and sometimes I don't.
I was very unique as a child, dressed a certain way, acted a certain way, didn't fit in with everybody. So I immediately got picked on, especially around the age of 12 and 13, when you start going to junior high and start mingling with the older kids. To counteract that, strictly for self-defense, I wanted to get bigger.
Back then, Pro Tools only had four or eight tracks, so we couldn't actually hear all the tracks. We could only hear eight at a time, so if a song had 25 or 30 tracks, we wouldn't be able to hear it until we went into the studio an put it all on tape. The process was a little bit backwards.
I was very unique as a child, dressed a certain way, acted a certain way, didnt fit in with everybody. So I immediately got picked on, especially around the age of 12 and 13, when you start going to junior high and start mingling with the older kids. To counteract that, strictly for self-defense, I wanted to get bigger.
When I was writing some of songs for the record in Galapagos it was the feeling of being there I wanted to evoke more than anything. I remember hearing all the parts of the songs in my mind when I was walking around over the lava fields.
My mum would play Stevie Wonder around the house, and I remember just loving the songs and feeling so blown away by how much was going on.
When you hear tracks everybody immediately thinks that nobody is really playing or singing. That's not the case at all.
Some hit songs are really stupid, and who knows why they're hits. But a lot of hit songs are really good. I agree with Jim [Lauderdale] in that I think the really good ones are songs that when you hear it [sic]...there's just something about it that touches your heart, and you don't know why.
I make my songs slightly abstract so that people can interpret them their own way. I think that's a lot more special, so you can hear a song and think, 'I feel exactly that way,' even if it wasn't written for that feeling.
And the general shot my sister. I could not look at her, but I remember the sound of when she hit the ground. I hear that sound when things hit the ground still. Anything.' If I could, I would make it so nothing ever hit the ground again.
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