I can reach the mass audience if I come from different perspectives on every song.
I write all of my songs from scratch, so the one thing I love about EDM is the way a song transforms into a piece of art, and how the different sounds can change the feel of the record.
I like to come up with lots of different sounds. So the final version of a song might have been 10 completely different songs before we finally got it right.
All Boston songs are fairly difficult to translate to the stage. None of them are especially easy to play or sing. A lot of them, of course, have very involved arrangements with lots of different sounds and sections that are difficult to play and sing. The prospect of doing any Boston song live is always an endeavor in itself.
To work with different singers gives us creative freedom because we can experiment with different sounds on every song.
It's never easy to write a song. It's the most difficult thing I do.
What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
I've never gotten money from most of those records. And I made those records: In the studio, they'd just give me a bunch of words, I'd make up a song! The rhythm and everything. 'Good Golly Miss Molly'! And I didn't get a dime for it.
You want the song to be at least at the same level of goodness throughout. Whereas with something you're doing live, a song dips and rises and that can actually be worked to the song's benefit.
When you're trying to do a traditional book musical like 'Book of Mormon,' it's always nice to have characters that could very naturally break into song, and its good to pick a subject matter that allows that to happen in a way that doesn't disarm the audience.
So when you're sat there and you're looking at a platinum disc on your wall, for a song you wrote on your own, it's like this is getting crazy, man. It's all crazy.
'Brand-Dropping' is the term that the Kluger Agency coined to describe discreetly advertising by product mentioning in song, and we feel we can make this the way of the future without jeopardizing any artist's creative outlet or typical style.
And since discriminating fans can pick and choose exactly what they want to buy, artists and their labels are more conscious than they've ever been of making sure that every song on a new album is as good as can be.
It doesn't take much for anyone to pick up anything I play - it's quite simple. I go for a good song. And if you hear a good song, you don't dissect it - you just listen, and every bit seems right.
It's best to keep things as free and open as you can. It's good to have a template, but then you go back and dissect it and see where you can make improvements. That's pretty much been the case with every Priest song that's ever been written.
While I've had a great distaste for what's usually called song in modern poetry or for what's usually called music, I really don't think of speech as so far from song.
The divergence of songs in the new population away from those in the progenitor population would only be prevented if these processes were balanced by repeated immigration and subsequent breeding: song flow.
A song of mine called 'I'll Take Care of You' was on that 'Wide Open Spaces' Dixie Chicks album.
How many people get to say they recorded a song with Dolly Parton and Jennifer Aniston?
Every song that is a Hopsin song, I 100 percent made it. Nobody helped me. There was no producer to say, 'Hey, put the beat like this... ' It was all me. If the song was wack, then the song was wack. If it's dope, it is what it is.
