A Quote by Pulkit Samrat

The songs in 'Junooniyat' worked for me. — © Pulkit Samrat
The songs in 'Junooniyat' worked for me.

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I've worked with a lot of 'American Idols' over there and I've worked with the 'German Idol' winner and had songs on 'Australian Idol.' It's a place for songs. 'The X Factor' U.K. is the holy grail.
To get 300 songs to fit together on an album, it's not like I choose 300 songs and say these are the ones I wanted to pick. To get those 300 songs I sampled 1000's of songs and narrowed down the ones I felt worked the best musically.
I did 'Junooniyat' because I wanted to challenge myself.
I wanted to try to make songs that worked as songs, not just as productions. People wanted me to do a solo acoustic session, they were like "Can you play song on the piano?" and I was like "Not really. It doesn't really work." I wanted to write songs that would work in a variation of instrumentation.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
Junooniyat for love but not necessarily from the romantic perspective. For me, that is for family, that is for my work. For me, both these things are very important, so there is junoon for people I love, which is my family, and my work, which I worship.
Prayrit Seth, my director, has worked with me on most of my songs and videos. It's a very organic process for him and me to conceptualize and brainstorm on how to present our work.
Carlos Sosa, the saxophone player for Zac Brown Band, and I worked up two songs for 'When You're Feeling Sick.' They were a blast to work on. The songs are real upbeat and silly.
And the thing about me is, I have a lot of mellow songs, because they're the easiest for me to write. I wanted to try to make some more upbeat songs, so, I ended up gravitating toward writing songs with friends, which was a great learning process, and also we came up with great songs. Those are the songs that came out the most naturally.
Throughout all of the changes that have happened in my life, one of the priorities I've had is to never change the way I write songs and the reasons I write songs. I write songs to help me understand life a little more. I write songs to get past things that cause me pain. And I write songs because sometimes life makes more sense to me when it's being sung in a chorus, and when I can write it in a verse.
Anyone who has been with me from the beginning has worked from the trenches with me and they've worked really hard. People that I have brought in where I am now, they haven't worked the way that we have, they haven't lost the sleep, and you know, the blood, sweat, and tears.
I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
I worked in a record store, but I realised I didn't want that. I still wanted to pursue a career - or a life - that my songs provided for me.
Sound has always followed me. A lot of reggae when mum was cooking. I'd write songs with my dad or play him anything I'd worked on.
For me, the good songs are the ones that come really naturally. There are certain songs that you rework and rewrite and the craft becomes very evident, but a lot of times those aren't my favorite songs. The favorite songs are the ones that I can't even hear my own voice in.
I begin with songs. They provide a sort of skeleton grammar for me to flesh out. Songs of longing for future tense, songs of regret for past tense, and songs of love for present tense.
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