I don't care about the rules. In fact, if I don't break the rules at least 10 times in every song then I'm not doing my job properly.
We play a hip-hop song and suddenly 25 people on the left jump up and put their hands in the air; then you play Lost Cause and they're like, I don't know about this one.
I aim my arrangements at what will fit and colorfully frame the song in the best way possible.
Regardless of who originally made it popular, any hit song becomes a challenge to the ingenuity and imagination of other musicians and performers.
I do dumb stuff, like playing my favorite dumb Barry White song and lip-synching into the mirror so it looks like his voice is coming out of my mouth.
I'm very soulful. I grew up singing in church. When I sing a song, I like to feel what I'm singing.
I think it's good if a song has more than one meaning. Maybe that kind of song can reach far more people.
But there's actually a lot of punk bands out there that go out of the norm, use odd time signatures, or a lot of different tempo changes in a song.
I recorded the song live in front of an orchestra, and yes, I was very moved, I was in tears.
Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.
Artists don't always know. Almost every song I ever recorded that was a hit at the majors that the promotional people picked I didn't think it would be a hit. I was wrong every time!
They look for the top note to end every song. They don't know what they are singing about. There is no style.
All music is folk music. I ain't never heard a horse sing a song.
One of them would definitely be the Nelson Mandela gig, when I played the tribute song for him. He was up and dancing, and he really enjoyed it. It was a really lovely occasion.
Right from day one, you know when you've written a good song.