A Quote by Raveena Tandon
To be honest, neither 'Satta' nor 'Stumped' needed songs and music. But when we recorded a good soundtrack album, everyone suggested we create credible situations for songs.
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I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
Of the 25 songs we've recorded there were 24 that we wanted to have on an album. That wouldn't have worked. So when one of our wise managers suggested the idea of considering two different album, it cleared the way for us.
My aim is always catchy songs, or songs with meaning and I want to write music people can relate to, about things anyone could go through, just real, honest music... songs that mean something, songs that are inspired by true life events.
The choice that I made was from my best music, for the songs that I knew that the public liked. Then, when I recorded my new songs I found that my old material had not faded, it was still current, the music was good and the songs were great. I sat in my house and listened, got the chills, and I thought, how great is that? It hasn't dated, it hasn't gone anywhere, and it's great.
I'm not as religious as some people about "the album." To be honest, that was a product of a format. You had vinyl, and you could fit five songs on each side, and that's 45 minutes. You had A-side songs and B-side songs; I always loved the first song on side B. And there's nothing wrong with that. Prog albums of the 70s adapted to that format very much. But not all musicians want to create 45 minutes of music that has to be listened to in chronological order.
When I met with Peter Angell, the producer of the CD, we talked about my idea to do songs that I loved and songs that I wished I had recorded. Peter suggested that we pick some songs and see how they work with you and try to come up with arrangements and ideas about how you might want to do them.
That's what is so great about being able to record a 13-song album. You can do a very eclectic group of songs. You do have some almost pop songs in there, but you do have your traditional country, story songs. You have your ballads, your happy songs, your sad songs, your love songs, and your feisty songs.
For me to create an album of 12 songs, I've got to write about 80 songs. Half of those are totally weird and rubbish. But I get to some really good stuff after a while.
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.
Some guys record an album with songs that are filler. I recorded this album like it was my last.
The essence of songs is neither vocal nor cerebral but organic. We follow songs in order to be enclosed. We find ourselves inside a message. The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.
I've done two albums for Concord Records; one was with Al Jarreau and it did very well for us. The second album was called 'Songs And Stories,' and it had good songs and good performances, but I promised them I would do an album that was more jazz-oriented.
To create an album of 12 songs, I've got to write about 80 songs. Half of those are totally weird and rubbish.
When I wrote those first songs for the Truckers, songs like 'Outfit' and 'Decoration Day,' those were strong songs, very strong songs. But had I been in the position of writing an entire album at that point in time, I don't think the whole album would have been of that kind of quality.
Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.
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.
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