I do not want a personal relationship with my fans. Or to do anything that encourages them to think they have one with me. They can have a personal relationship with my songs. That's fine, but they don't know me.
As a songwriter, you respect and appreciate the writings of other people, and I often get asked, are there songs out there I wish I'd written? Yes. There's many of them!
Throughout my career, if I have done anything, I have paid attention to every note and every word I sing - if I respect the song. If I cannot project this to a listener, I fail.
I often have an argument with people. I say name me a classic song that's not sad in some kind of way. And even if you can, you'll have to search pretty far.
'The Taxi Ride,' from my second album, is one people want to hear a lot. I'm consciously trying to walk on the sunny side of the street, to really lift myself into a place of greater positivity, and that's a sad song.
I'm delighted about the track's success in the sports world, but the frustrating thing is, I don't think I got rich on it. The labels and publishers did very cheap deals on our songs.
Stevie didn't use the technology to drive the song. He used it to enhance. I use the tools to further my work, I don't use my work to further the tools.
I love to make songs out of some of those shadows - you know, some of the things you lie awake thinking about, social anxieties and romantic insecurities and all that stuff.
I've been a huge Psychedelic Furs fan for a long time. I love Butler's paintings, too. I like all their songs. I'll even crank 'Pretty in Pink,' I don't care.
'Drive,' that's the one. I love dozens of songs by R.E.M., but that's the one, even though it took me 7 or 8 years to start liking it.
I love rapping. I do. My styling's similar to Missy Elliott - I think she's so dope. In a weird way, that's how I first learned the American accent: doing American rap songs.
I just sing the songs that people don't expect you to sing, because I just love having fun at karaoke and I'm always a bit nervous to sing something serious.
There's this one song called 'Final Warning' that I'm really excited about because I love the contrast of my vocal sounding very soothing and my harsh lyrics.
I try to give the music more of a campfire feel as opposed to a library atmosphere. I like when you can hear people hanging out in the songs and doing a little shuffling. It creates a feeling of participation.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
I compose my own stuff. I've been writing songs with words. I've been playing more on the keyboard because I can transpose it to sheet music on the computer.
I let the song come to me. Then that thing comes to you, and you just know what that thing is. Music isn't like a 9-to-5 job. You never know. It's just the most unpredictable thing.
The people that only listen to one song from a record and flip around that much, if that's the only way they listen to music, they're probably the kind of people that like music as something to drive to, you know?
There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.
At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.
With the Stray Cats at least, we really took the music somewhere else. First, we wrote our own songs. That's a real weak point in modern classics if you do rockabilly or blues.
