A Quote by Mark McGrath
Of course, we wrote the songs accordingly and performed and recorded them that way. At that time, we really thought it was right, but you know, seen in retrospect, it made the album sound forced, and not really great.
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When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.
I took a lot time to do the first album, and I was really happy about that album. I co-wrote the songs and it was a learning process. When I was working on that album I realized, for the first time, that I could write my own songs.
I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.
It's more in retrospect as I've thought about it over the years and look back at what I wrote, how I wrote things - like there's a song that Ralph Stanley later recorded with me that he had guested on my record what was called "Travelers Lantern" that I wrote as basically, you know, a hymn.
And I thought about how many people have loved those songs. And how many people got through a lot of bad times because of those songs. And how many people enjoyed good times with those songs. And how much those songs really mean. I think it would be great to have written one of those songs. I bet if I wrote one of them, I would be very proud. I hope the people who wrote those songs are happy. I hope they feel it's enough. I really do because they've made me happy. And I'm only one person.
When I started out, I wrote the songs, recorded the songs, mastered, mixed, did the artwork, made the packaging and did the distribution, all myself. Now I understand what everyone's jobs are, who is doing them right, and who isn't.
I just had a really crappy time in school and I spent a lot of time writing songs and not doing work. I started talking to Noah - Panda Bear - about recording a really solid album, spending a lot of time on it to get it to sound exactly the way we wanted it to.
My songs speak for themselves. The musicians who play on them and the way they sound and where they were recorded and the way they were recorded is the old Nashville way ... they sound as country or more country than a lot of things that are on country radio.
I had my whole life to write a bunch of crappy songs and then play them in front of people and think, 'All right, that one out of these seven is really good; it's a keeper.' But on this second album, to be honest, I probably wrote about 50 songs where I was just trying to write a hit.
The first time I wrote a song, I couldn't really believe - 'Can you just do that? You're just allowed?' I never thought about songs on the radio and who wrote them.
I think with the 'Get Weird' album, it was the hardest album we've ever made so we had no idea what sound we wanted to go for, we didn't really know what we wanted to write about... and so it took a lot of time.
When I wrote my debut album I was around 17, I didn't really know what my sound was or who I was and what I wanted.
It's so funny because I listen to songs that I recorded that I didn't really know anything about at the time. Later on I'm starting to feel the songs. Sing them first, feel them later.
By the time I wrote those first three songs for his new CD ... I wanted to push the poetics as hard as I could push them, and not decide the songs were finished until I committed them to whatever the recording format was. I went through drafts right up until I recorded every single one of them.
I think this my last album - No Place For My Dream - truly is my best work. My fear now is, I don't know if I can do better than this in my lifetime, because technically, sound quality, composition, the melody is really high standard, it's very scary; the way it was recorded, the way I was focused. I think it is top of the music scene.
I don't care if it's a Cole Porter song, or George Gershwin, or Lennon/McCartney, or Elton John, or you know, whoever, Bob Dylan. Great songs are great songs, and they stand the test of time, and they can be interpreted and recorded with many points of view, but yet still retain the essence of what makes them good songs.
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