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Every song I put on a record could be a single and I just pack my bags for it... and the minute it takes off, I'm not gonna be home for a while.
Songs come alive every night and can be a new experience for someone. You might have someone in the audience who has never seen us before and hearing it for the first time. We are aware of that.
I'm a perfectionist and I can kill songs because I analyze them too much. For me it takes awhile because I like to do it and then step back and listen and observe.
Things just evolve. I sort of have no control over what happens with the songs. Sometimes I'm afraid I might wake up one morning with an entire record of polka songs.
Hairspray is the only movie I made that's subversive, because they're doing it in every high school in America. A man's playing a woman, and two men sing a love song to each other.
When I was writing this new bunch of songs, I was singing a lot lower, because they were more intimate in a way. I had to come up with a way to frame the music that was intimate.
Sam Phillips asked me to go write a love song, or maybe a bitter weeper. So I wrote a song called, "Cry Cry Cry," went back in and recorded that for the other side of the record.
I really had a great time working with Modest Mouse, just because of the people. I loved writing songs with Isaac Brock, and Jeremiah Green is probably my favorite musician that I've worked with.
Guys like Otis Blackwell and Bobby Darin, and all the guys who were writing songs for Elvis at the time, just hanging around, writing songs, talking about music.
I've never really had anybody close to me die. I think the song is about a feeling that I have that, it still applies. It's a feeling of longing, once again.
For me, I want to create a environment for the songs to live in. So one song by itself only tells a piece of the story, but in the context of the album, more of the colors are revealed.
The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.
If you write songs and if you write music that's very sincere and very honest, it's pop music, but it is pop music with a lot of honesty and a lot of heart.
When I write lyrics, I really do go into an automatic folk appropriation mode... I see the vernacular register of 20th century song as being a bunch of forms to adapt and reconfigure.
Instead of singing in the shower, I would write out the lyrics of my favourite songs, the ink would turn the water blue or red or green, and the music would run down my legs.
When I was 19 I went to art school. I had six months of teaching myself to play baritone ukulele under my belt so I was sort of a novice folkie... I was singing folk songs at that time.
Sometimes I'll get a burst when I write lyrics, it usually happens in 20 minutes and I'll write the whole song, and that's really the only way it feels comfortable.