A Quote by Y. G. Mahendran
I would like to do one of Ilaiyaraaja's songs. After all, I did play drums for him and have watched him closely while composing, recording and performing. I would like to do an album of Mohammed Rafi's Hindi songs, too.
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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.
We with Michael Jackson were in the studio recording some work on "Man in the Mirror" or the duet. I can't remember which it was. We did the duet in three languages: English, French and Spanish. So, I spent like a week with him in the studio doing the three songs in different languages. It was just an awesome experience recording with him.
I think when we were starting out, it was more about imitating our songwriting heroes. We would try to write songs like Neil Finn, or we would try to write songs like Ray Davies, or we would try to write songs like Glenn Tilbrook.
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.
There's this Ryan Gosling quote that I steal all the time - I watched an interview with him in Cannes - and he said picking roles is like listening to songs on the radio: There can be a lot of really great songs in a row, but then one comes on that just makes you want to dance.
After the song [for sausage Party] was finally done, we didn't have enough time, but we thought it would be fun. It also would've thrown it off a bit, because we really are doing more of an homage to Pixar, and if we filled it with songs, it would've felt more like Disney. And we had an experience, while we were making it, that going too Disney made it too weird.
My favourites are Lata Mangeshkar, Asha Bhosle, Kishore Kumar and Mohammed Rafi. They are the four legends. I have worked with them in hundreds of songs.
Once I'd chosen the songs, it seemed like it would just be a question then of recording them. But it's a case of trying to re-invent the songs; taking them in different directions.
When I finally stopped [singing], he had been saying, like, the last day or so, he'd been saying, now, I think we should put this one in the album. So without him saying I want to record you and release an album, he kept - he started saying, let's put this one in the album. So the album, this big question, you know, began to take form, take shape. And Rick [Rubin] and I would weed out the songs.
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
That was the reasoning behind learning to play bass, and then after that it was more like it was neat to play songs together - for me to play bass and for him to play guitar
That was the reasoning behind learning to play bass, and then after that it was more like it was neat to play songs together - for me to play bass and for him to play guitar.
We just did a bunch of songs, and there was a lot of enthusiasm for the songs that we made. We didn't feel like we had to do Miike Snow. We just did it because, I mean, I guess we felt like it would be a bit of a shame to leave it where we left it.
I read the reviews sometimes, but I don't let it really affect the next album because, for me, when I approach an album, it's usually coming to me pretty naturally. It's not like I set out, like, "Okay, I'm going to write an album this month." It's more like I'm just always writing songs and eventually I start to realize that a group of songs sort of fits together, and I go from there in putting together the album and themes and artwork and things like that.
I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.
I did some songs for Baz Luhrmann's The Great Gatsby. I had done a jazz album of Roxy songs, and they used bits of it in the film. It would be nice to score a movie one day.
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