A Quote by Kurt Vile
If somebody else wanted to do a song for McDonald's, that's up to them. I wouldn't do something like that, but whatever.
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You always feel like you've got something to prove, whether it be to yourself or somebody else. I can think of plenty of people along the way telling me I'll be nothing, working at McDonald's, doing things like that. The whole time, you're just trying to prove them wrong.
Everyone has their own experiences with song. It means one thing to me and it means something entirely different to somebody else. I have a song called 'Apple Cherry' which is a song about unrequited love and to this couple in London, they fell in love to this song. The girl in the relationship called me and said she wanted to propose to her girlfriend could you sing 'Apple Cherry' while I do it? I was like 'Really? That's not a love song about getting together'.
I never wanted to be that fad type of artist. When I looked up to artists, watching TV, I wanted to see somebody. I wanted to touch that person. I wanted to sound like them. I wanted to move like them. That' s what I want my fans to do. So that's why, everything that I do, the music I make, how I dress, it's all based off my lifestyle.
The older I get, the more I think it's this listening. You listen for it, and you have a bit of patience. And it'll come until it sounds - to me, the best songs I've written, I think, are ones that I can't hear anything - any of myself in it. It sounds like a cover song, like somebody else's song - really something you've stolen wholesale off a radio that you've listened to in someone else's flat.
When I got on that plane, it was loaded with white people going to Africa for the Peace Corps. I got there and met a lot of them, and actually they had more peace there in Guinea than I have here. I talked to some of them. I told them before they would be able to clean up somebody else's house you would have to clean up yours; before they can tell somebody else how to run their country, why don't they do something here.
My mother worked all of her life, she was a dance teacher and I also noticed, to be honest, that most of the male directors wanted to blow things up so there was like an open area for somebody who wanted to direct women movies, chick flicks, whatever you... I don't call them chick flicks.
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 don't care if it's somebody else's song. Most of the time, you'll find that I'll put my own stamp on it. But I started writing more because, you know, it's easy to regurgitate what somebody else is doing, but it's exciting to be able to come up with your own writing.
In each city there are different favorites. Whatever we do, we'll come off the stage and somebody will ask how come we didn't do 'Pearl Necklace.' At the next town, it's something else we didn't do that they wanted to hear.
I can't see myself ever having somebody say something about me on a song and me being like, 'All right, now I'm about to say something about them on a song.'
When I wanted to know something, I wanted it undistorted by somebody else's imperfect knowledge.
Everybody prays whether [you think] of it as praying or not. The odd silence you fall into when something very beautiful is happening or something very good or very bad. The ah-h-h-h! that sometimes floats up out of you as out of a Fourth of July crowd when the sky-rocket bursts over the water. The stammer of pain at somebody else s pain. The stammer of joy at somebody else's joy. Whatever words or sounds you use for sighing with over your own life. These are all prayers in their way.
That song [You Got To Make It Through The World] came from a vibe I picked up from an old blues singer named Bo Carter. My lady was making a film as a thesis for U.C.L.A. and she wanted me to write a song to depict this character. The movie had something to do with bootlegging and stuff like that. I found this Bo Carter record and he was just saying something about making it to the woods or something like that.
With the artists, I don't teach, I coach. I can't tell them how to make art. I tell them to make more art. I tell them to get up early and stay up late. I tell them not to quit. I tell them if somebody else is already making their work. My job is to be current with the discourse and not be an asshole. That's all I wanted in a professor.
I just feel like it's easier to co-write sometimes, especially if you have chemistry with somebody. It kind of takes all the pressure off of you. But, you know, I started writing songs by myself. I didn't really have a co-writer, besides my dad. When I see a record and it has a song on it that someone wrote [alone], I just really believe in them as a writer. I feel like it's a window into them, more than it is if you write a song with someone else.
Somebody has to give a wakeup call to our coaching world to ask them real questions and show them that if you have kids, then you know there is no way you can talk to somebody else like that, because that's somebody's child.
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