Mr. Fantasy was the only song that was scribbling on a piece of paper.
The voice of Vin Scully has become the song of summer for generations of Los Angeles baseball fans and aficionados of excellence in sports broadcasting.
So where a lot of people will spend three weeks on one song, I will write 10 in three weeks. Maybe the song that they sculpt is going to be as successful as just one of the 10 that I wrote.
I feel like Drake could literally put out anything - like, the sound of seagulls over a beat - and it could be the Number One song on Spotify.
My nature is... well... I'm a searcher by nature. I'm constantly searching for something; that's why I have a song called 'Looking for Something.' How do I do it? I read a lot of spiritual books; I meditate.
Every single song on 'Torches' was a little self-contained pop song, so there wasn't any fat on the songs; there wasn't a lot to cut.
Originally, when I wrote the song 'The Sensual World' I had used text from the end of 'Ulysses.' When I asked for permission to use the text, I was refused, which was disappointing.
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.
Cause when you're sequencing a record, you want the listener to stick with it from beginning to end, and in order to do that, you really have to map out the journey from the first song to the last.
I've never done anything so political before. I've spent years shouting my mouth off about serious issues over dinner tables but never really had the confidence to express my views in a song.
'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.
I needed to be sexier. I needed to be more hip. I needed to be more edgy and this and that. 'No, don't write that kind of song, write this type of song. No, don't work with that producer, work with this producer. No, don't wear those clothes, wear these clothes.' And I didn't want to be a puppet, you know?
With 'Love Shack,' once we put that chorus in, it did have more of a song structure. Even though the verses are all kind of different, the chorus was there along with 'The Love Shack' - I think that really made it a hit. Once we heard it in the studio, we played it for R.E.M., and they were like, 'Yes this is a hit.'
'Love Shack' is such an eternal kind of song; at karaoke, people do it.
The reason that Shaft has a dominant theme song is because James Bond has a dominant theme song.
Shaft' is a great country song.
Once you have an established song, you can really come out of your shell and experiment with the sound you want to make.
Da Pak was a group out of Chicago. It was a put-together group. We actually met for the first time at this showcase. They were like 'Yo, you should do a song together.' So we did. It just so happened that the name of the song was 'Wolf Pak.' They said, 'Y'all should be a group called Da Pak, and here's a record deal.'
But once you've made a song and you put it out there, you don't own it anymore. The public own it. It's their song. It might be their song that they wake up to, or their song they have a shower to, or their song that they drive home to or their song they cry to, scream to, have babies to, have weddings to - like, it isn't your song anymore.
Video is a funny thing. It's one thing to be an artist, singer-songwriter, and use words and create pictures in people's minds. And then be asked to do video for it, to actually give a certain visual for your song.
