A Quote by Kevin Parker
If I'm recording a song, and it's kind of fuzzed out, but I've got this super candy melody, I feel nothing but freedom that I can just sing over the top, and it will be appreciated. It won't be like, 'What is he doing?'
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Lyrics are what I tend to tear hair out over and they're where I tend to feel weak musically, if I'm being very honest. It is not something I feel like I know anything about; I would not consider myself a writer. I just want to sing, I just want to sing a melody, I just want to feel a melody, and be part of the song, and everything else is not so important.
When I feel comfortable, I just like to sing and hum, and I don't even know I'm doing it. But sometimes someone will come over to me like, 'I love that song you were singing, but it's distracting.'
I still feel like if I can get a song to work with, say, a basic beat, a rhythm, some chord changes, and a melody, a vocal melody - if it works with that, then I feel it's written and there's something there. So I intentionally don't get involved with arranging stuff or fussing over the sounds and the edits and the beats too much, at least not in the beginning, because I feel like then you can fool yourself that you've got something there, when you might not.
Sour Patch, Swedish Fish. I love candy, man. I can't go without candy. And when I'm recording, I always have a TV on with cartoons - on mute, though. When I'm recording, I like to look at the TV now and then and see some crazy, wacky stuff. When you're thinking creative, it just keeps you creative. Everybody got their way of making music.
I feel like I'm really accomplishing something with harmony and melody. Ultimately, again, I'm not a singer, some people can sing with an "I" or an "a," some people can sing and they can sang. I think I can "sang" more than anything. I'm not a formal singer and I'm an MC, but it's secondary to the second nature of just melody. You know but ultimately I'm a writer and I do soul music. Whether it's in song form or rhyme scheme, it's soul.
A good song has to have a great melody, and the lyrics have to touch my heart. Now, if it's just a little toe-tapper, got to make me feel good somehow or another, or when I sing it I can't make you feel good.
I've been doing four-track songs by myself since I was like a teenager, where I'd sing in a way that I ... I just didn't think other people would like it, so I didn't play it for them but eventually I got over that, which I'm happy that I did, because it's kind of a drag to be playing a kind of music that you don't really like as much as another kind.
Sing us a song you're the piano man.
Sing us a song tonight.
Cause we're all in the mood for a melody,
And you've got us feeling all right.
I can't sing, but I'll sing over this chord progression, like, over and over, for however long it takes - sometimes it's, like, two minutes, sometimes it's 20 minutes - until I've found like a hook or something that I'm really happy with. And then, basically, it just like that's my melody, and that's where I start from.
There are so many songs out there in the world that - if I know we have to come up with a new cover, then I'll just sit in my room and sing song after song and figure out which one I can kind of sing the best.
We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
I feel like that for the next album, we're going to know what we're doing for each song even more than what we did for this one, just because we'll have really fleshed them out as a band before recording.
I write anywhere. I'm always banging around on the dashboard. Whatever I'm doing. I can make music out of anything. Whenever a song hits me, I'll pick some sort of melody or rhythm out on it, and kind of enhance the song.
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.
The music kind of possesses me when I sing. So whenever I start to sing on a show - I mean, first, I'm nervous, and then when I get into it, it's just like I feel like I'm the person who sang the song first.
The Armstrong record that I personally like the most, is a recording of a song by Harold Arlen called, "I Got a Right to Sing the Blues" . Most of Armstrong's solos tended to stick pretty close to the melody. But for some reason, it's like he let go of the tether and suddenly he's playing this beautiful high, almost abstract line that's floating above the beat. I compare it to the way that a 19th century operatic tenor might have sang an Aria because he's just completely let loose of the background and he's making this magic sort of flying above the staff.
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