'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.
'The Beatles' did whatever they wanted. They were a collection of influences adapted to songs they wanted to write. George Harrison was instrumental in bringing in Indian music. Paul McCartney was a huge Little Richard fan. John Lennon was into minim...
I think it's important to really press on with the song writing and just go with it. There's no code, there's no craft... it's just let yourself shine through your music. If it's meant to be loved and heard, it'll happen.
It wasn't until I found my tribe of artists - people who were outspoken and not afraid to say what they thought, whether in a song or a dance or a piece of classical music - that I found a refuge.
I think I definitely learned how to structure songs, just from listening to a lot of 1960s, 1970s pop music, although I'm sure my mother's watchful eye had a lot to do with it.
