When I write a tune - and it's been like this for many years - I always hear in the back of my head some sort of vague, orchestrated, fully fleshed-out big-band version of the song with other parts going on.
When you write a song, it may come from a personal space, but it very seldom actually represents you. It comes out of a sort of mood of melancholy, somehow. It's almost theatrical.
I grew up going to a real small missionary baptist church. We would sing a lot of the old standards... the hymns and everything. Those songs are still my favorite and are pretty timeless.
Sometimes I would write something that was so private, people would say, 'Make it more universal.' I never liked that idea. I always thought the more personal a song was, the more people would want to hear it.
In a song, you have to have a lyric that gives us new ideas on how to live, a lyric that makes us feel, and a melody that gives you some kind of body response and emotional response.
On the other hand when you are someone who records their own songs you are basically stuck writing for one voice and for one style that can stifle you a bit. It's a real trade off.
In a certain way, it's the sound of the words, the inflection and the way the song is sung and the way it fits the melody and the way the syllables are on the tongue that has as much of the meaning as the actual, literal words.
I have two favorite songs. My first is called 'Dance of The Robe' and it's a very powerful number where she is feeling the pressure from her people to take on the responsibility of leading them.
Recently, I've been working on anew album of material, which should be out in the new Millennium. I'm not sure which song will be put out as a single, but I'm still hoping to get another record in the charts.
I told Celine Dion not to record that 'Titanic' song. That's about as big as you can get. 'Flashdance?' I thought, 'Welder by day, disco dancer by night - who wants to see that?'
If you only do little clusters - three or four songs by one, and another, and then yet another - you lose the opportunity to think your way into the composer's mind, since, after all, most of these pieces are quite brief.
I've always been a fan of melody and emotional melancholy, whether it was Rites of Spring or Tears for Fears or Neil Young. If I hear a song that has a sweet melody, I'm a sucker for it, whether it's Linkin Park or Little Richard.
I used to watch 'Top of the Pops' when I was a kid and say 'Yeah!' or 'Boo!' at every single song. So there was nothing in the middle. You brutally put it on one side or another.
'Chamalkay' is an old Guyanese slang word. It means a 'young mischievous girl.' It's not derogatory, but it isn't over complimentary, either. It was probably a word I just Googled one day, and the song kind of played into the feel of that.
I could stand out front and sing Eagles songs that I sing in my set, but I think people enjoy watching me sing and play the drums. It seems to fascinate people. I don't know why.
Some people buy records just to dance to 'em. Some people buy records to listen to the radio. And there's people that buy records 'cause they listen to every song.
Morning sunrise wakes me up with rays of hope. Clouds of fear can hide the sun but not for long. If rays of hope are strong and patience is a song, then hope will bloom and rain will bring a rainbow.
I am a person who sings. I know not everyone is, but that won't keep the Spirit from putting a song in your heart.
It’s great that a song now costs exactly the same as a pack of gum and lasts exactly the same amount of time before it loses its flavour and you have to spend another buck.
I went to a radio station on Long Island in 1982, and thank goodness for me, it was so new that there was no receptionist. So the DJ opened up his booth, and took my tape and listened to it and thought it was a hit song.
I've been asked over the years to compile a list of desert-island discs. I couldn't do that. If I was trapped on a desert island, I don't think I'd want 10 songs to bring with me.
