Everybody struggles with get tiring as a musician having to play the same songs over and over again on one level or another. That is why you're cast to write the best songs you can. It keeps it going for you. My old man used to tell me be careful what you write you might have to play it for the rest of your life. That is always a challenge and the best way to remedy it is to write.
I've played death metal, punk rock, hardcore, funk... I've done it all. And all there really is music and at the end of the day, anybody who has a record and puts out a record that's basically the same song 13 times over on one record; to me they're just cheating the fans.
I'm not one of these people who sits down and writes to say I'm gonna write a song about this or that, or a specific subject. The songs actually kind of write themselves.
If I write songs and I think they sound good, then that's it. That's what I do. I'm not a technical musician, which is fine for rock and roll.
I don't sit down to write a song, per se.
I lived in London in 1965 and 1972. I love it there and I'm always very creative in that vibe. Would love to live for awhile in Scotland/Ireland and Britain. Great appreciation there for the folk scene and song crafting.
It's a template record for the intersection between pop and noise, starting out with 'Sunday Morning' - a real beautiful, almost innocent sunny day song. You have a lot of different types of things on one record. It can be really pretty, or it can be really awful inside, depending on where your head's at at the moment. I got it in ninth grade and I think I've listened to it every month since then.
I've tried to write songs for other people and it usually requires them singing it and then changing the phrasing. I can put a lot of words in a song, and one of the reasons is, I'm not that good of a singer, so I don't hold a lot of notes.
I don't really pursue writing songs for other people. I guess one of the things I always think about is a good line in a song should be something I can hear myself saying.
The reality is that the shows kind of disconnect from the songs a little bit. You're playing the songs, but they take on a life of their own.
I think you want to write a song that's like the songs you are into.
I remember I was really into this British band, The Vapors, with that song "Turning Japanese." I thought that they were really next level genius cryptic weirdos. And then I realized when I got older they are just using a lot of British words, and I didn't know what they meant. But I thought, Oh, they are making up their own language.
You are hearing this song, and you're 16, and it's a song about love, or a girl. And then maybe there's a girl at school that you like. So you're going to be thinking about that girl. That song is sort of about that girl. The songwriter doesn't know that girl, obviously. He wrote it for something else. But there's the specific meaning with the universal again.
I think making the songs is to put strength in the community in some way.
I can still sing most Eagles songs, even though I never bought a record and never liked the band.
An album doesn't mean as much to a lot of people now, compared to just songs.
If you wait four or five years between records, it better be a masterpiece, you know? And if you keep putting them out, you're saying, 'Hey, here's 10 more songs'.
I use a lot of specific places in my songs - traditionally, a lot from Minneapolis and St. Paul, where I grew up. Most people, especially when you get into international touring, have not been there. So you say, "Well, isn't it risky to talk about the corner of Franklin Avenue and Lyndale?" If you do it right, someone should say, "God, I know a corner like that." Offering specific details to describe something universal.
In the end, when you're writing a really good song, it strikes the right tone.
I think when you are doing a song you're trying to give people enough details that they connect.
When we started the band, I was really like, "We just want to make a lot of records" - not quite unlike Guided By Voices' schedule. I've always thought that our live thing is what we do best, and having a really robust, big catalog makes for the most interesting live band - especially with people, at this point, traveling to see us night after night. For us to have almost 100 songs to pull from is a really cool thing. The sets can be different. They can be invigorating on an intellectual level. I definitely hope to continue to release records at an accelerated pace.
It's good to have some kind of California in there. It's almost always appropriate. It's appropriate on a sunny day or late at night. If you grew up on the Grateful Dead, which I certainly did, you listened to 10 million bootlegs. But you realize that American Beauty has some really tight, well-arranged songs that aren't meandering.
One of the things is my process requires a lot of repetition. I can probably drive people crazy because I'm interested in playing a song twenty times in a row.
There's this moment sometimes, when you do a crossword puzzle and you have the one really long word. And once you get that, the whole thing kind of comes into focus. Sometimes it's just working things over in your mind and then finding that one line that kind of ties the song together, and now it works. It's a puzzle of sorts.
I think the biggest thing - and this I think is true of songs but also of movies and books and art in general - is when you have this moment where you hear a song or whatever and you say, "Hey, I've felt that exact way as a human being," and there's no easy way to describe it.
