I feel a lot more comfortable being me these days. I'm constantly told that my work is good. A lot of fans and a lot of other artists say my songs and albums mean a lot to them. Isn't that what's important?
We just wrote songs that seemed good to us. We wrote the album in like two weeks. We could have had more time, but we accomplished what we needed to in the two weeks.
I write all year, and at the end of the year I put an album out. And if sucks, it sucks, and if it's good, it's good. I just let it lay where it lays. It doesn't stop from doing another one next year.
If people stop being interested, it's because you haven't written a good enough album. Music will always be the most powerful thing. It doesn't matter what record labels or journalists say. It's the song.
I also mixed David Bowie's Young Americans album in 5.1 earlier this year and it will be available very soon. Even the original stereo mixes have been re-mastered and sound amazingly good, better than ever, in fact!
I do write a lot of children's songs, and I'm going to do a children's television show, which also means I'll be doing a lot of albums. So I do hope my future will hold a lot of things for children.
It's funny, when people talk about the 70s I can tell you the year of every album but when it comes to the later efforts I can't remember the exact years, it's funny isn't it?
I always say this about my music, and music in general: Music is like a time capsule. Each album reflects what I'm going through or what's going on in my life at that moment.
Reggae was always a passion of mine. I used to say in interviews that I would love to do a reggae album. But it consumed my life being a hip-hop artist and being Heavy D, which I'm happy and proud of.
Here's something I probably shouldn't be saying: I never listen to my soundtrack albums because I can't stand it. It's just stereo. When I write, I write in surround. My life is in surround.
It's kind of like a college degree... when you get one, no one can take it from you. When you get to say for the rest of your life that you've got a platinum album, that really means something.
I've made music for grownups most of my life as a singer/songwriter - often with my band, Nine Stories - recorded many albums, and 10 years ago I started recording kid's music, too.
I have absorbed my life now. I am ready for my music to unfold. I know time flies, but before the end of this year, the album will be out. Even if it kills me.
I see songs not as a commodity used up when the album goes off the charts, which is often the case with pop songs. I see them as a body of work. Life should be breathed into them.
I try to make an album that reflects what I love about country music. It's not just all about happy parties all the time. There are some sad songs.
I'm not really a country singer, although I did make a couple albums and love its simple, straight-from-the-heart approach, but I have always sung a lot of jazz, show tunes, pop tunes, gospel and blues.
There's a bootleg album that was recorded when I was 14 or 15, a compilation of things live at different clubs. Songs like Girl from Ipanema and Cry Me A River. I don't know what the title of it is.
I made the first Feist album in '98. So at that point, it was my nickname. It was as far as with my circle of friends, and just felt more accurate than two names.
With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.
I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.
'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
