There were a lot of songs during my MCA years that I thought should have been singles but were not. You can't worry about what wasn't - I was very lucky to have as many hits as I had.
There was no such thing as production at Starday. We'd go in with the band, we'd go over the song, I'd look over and tell the steel player to take a break or kick it off, and I'd get the fiddle to play a turnaround in the middle.
Then, once I have lyrics, being able to shape them around a song is nothing new for me, I've been doing that for 25 years. The soul searching part of it, the spontaneous part of it, that was, and remains, a really terrific process.
I've never done anything so political before. I've spent years shouting my mouth off about serious issues over dinner tables but never really had the confidence to express my views in a song.
Now, the DJ becomes a star in itself because of the way he programs the songs with lows and then highs and then slowing it down. The big DJs, like Tiesto and Deadmau5 and all those guys, they are very, very creative.
and the creation, in the world and above the world, that once was at variance with itself, is knit together in friendship: and we ... are made to join in the angels' song, offering the worship of their praise.
Collaboration is much like a birth. The song that springs forth resembles each one of us to a degree, but it's the kind of thing that would never be born from just one of us sitting down with a guitar.
I'm a big fan of simplicity, especially with songs and I try not to make them complicated. I just make them simple and let people absorb that message themselves. That's my theory.
It feels like the more I'm out there in the public eye, the more criticism I get. You need to have confidence - that's what it takes to walk out there and sing a song in front of a huge group of people.
My voice hasn't changed really very much. I still do all my songs when I perform live and still do them in the original keys. I've been blessed with that ability to retain that.
I remember when I wrote songs when I was about 16, they all sounded the same because I didn't know anything. And all the subject matter was all the same because I hadn't actually done much.
At intervals between the songs, more especially after the trances have begun, the dancers unclasp hands and sit down to smoke or talk for a few minutes.
A day-time song like 'Word Starts Attack,' I want to make your heart blow up and make you want to punch the air with your fist. It can't be ponderous.
The new album is a childhood dream come true. Got to sing with Ronnie Spector, got to cover a bunch of songs that were influential in drawing a line between the punk form and original rock and roll.
Our touchstones of slavery are 'Song of the South,' 'Gone With the Wind' and 'The Birth of a Nation.' It's hard to separate the cinematic quality from the underlying themes. I appreciate the films, but the message was repugnant.
You get older, you start meeting girls, you want to impress them. And if you happen to know an instrument, what you do is turn on the radio and try to figure out how to play popular songs.
I just like simplicity. I like simple songs, I like simple chords, simple vocals, simple lead guitar. I just like simplicity. That's just the way I like it.
When people see you have a song on MTV, they think you are doing well - but you know, the way the traditional label deal was set up, it is really hard for an artist, unless they sold a lot, to see anything.
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.
