So like what I want to do is connect all of my albums and make it tell a bigger kind of story. So the first album is very focused on her family life and her love life.
The whole entire album is about Cry Baby, you know, being super insecure and kind of like going through her emotions until she finally realizes that she's comfortable with how crazy and insane she is and I think that I've made the exact same kind of progression , and the growth...and I don't know, like I feel like I've definitely grown into who I am and, like, I think Cry Baby is just me.
Cry Baby is a character so I think that the next album is going to be about a specific thing in her life or another place in her world. It's going to be a bit deeper into a bigger picture.
Probably "Mrs. Potato Head" or "Training Wheels". "Mrs. Potato Head" because it was the hardest song to write and it took me a while to finish it and feel good about the lyrical content. But I've had that idea in my head for so long, especially the visuals - pulling apart a Mrs. Potato face and how that doubled as a meaning for plastic surgery. "Training Wheels" because it's the only love song on the album.
It was quite nice to get an opportunity to introduce on the second album something a bit fresh for us. For the rest of the world, perhaps it's not, because guitar is quite ubiquitous, but for us it's exciting to just have guitar on the record.
It kind of limits what we can call the albums.
I definitely listened to Lauryn Hill - her's was like the first album I bought myself. Brandy's Never Say Never and Lauryn Hill's The Miseducation of Lauryn Hill were always in rotation for a couple of years.
Obviously, this is our first album [Begin], so this is our first big body of work that's out there in the world and it really represents our journey, from where we started to now and all the music we created, our range, and all the things that we definitely shared, but weren't able to show our range on a full-scale until this album.
When I was growing up, I would listen to a different album almost every night. I would do the full album experience before I went to bed and that's how I would discover a lot of music. I would kind of go into another world with my headphones on.
I think music is a very personal thing and it doesn't necessarily have to be experienced one way or another, but the album experience is a completely different thing than the single experience.
I was always an album guy, not a greatest hits kind of guy, not so much a radio guy. I'm not saying one is better than the other but... It was like reading a novel but shorter than that. You go into a world for an hour and you absorb yourself into it rather than just passively listening and flipping through this and that.
My first album was called Seven Waves, and was directly inspired by the ocean, and the ocean has been a leitmotif in my music. Nature was my inspiration even in NYC, because I needed that balance - I would travel out to nature. I loved the big city, I loved the energy, but I needed the balance.
I would have found something because I love to entertain people. I had the option to take the rest of the year off. But I said the songs on my last solo album, '24 Karat Gold,' mean so much to me. I need to get out there and sing them.
When a friend puts out a new album and it's really great, it makes you want to do something that great and it makes you get yourself in gear. It's healthy competition that helps make some great music.
I would say "These Days." It was the title song to an album I put out, and it's really this song that you'll hear throughout the episodes and the season in the show. I write all my music, I'm an independent artist so we do it all in-house and that song embodies exactly what the title says.
It's not always possible to play a song exactly as it is on the album. That's also something that I really don't want to do because I like to have versions that also adapt to the band, so that is always a big challenge to see how we can transform those songs so it feels natural.
I think that the creative process, especially in the beginning of making an album, I'm feeling very fragile, so to speak, because you are trying out so many different ideas, and if you are listening to it from the outside, it would sound horrible!
For every album, I really try to make an album that you hopefully will listen to from the first track to the last track. I personally really like if there's a - maybe not a story, but there's a natural flow.
I've had to try and find a way over the years of writing narratively that doesn't really require you to sit down and work out what the story's about. You're brought into a sort of sequence of images that have that emotional resonance, but it's kind of irrelevant what the actual story is. It's taken me maybe 13 albums or something to work that out.
I can't wait until the record label feels like it's time for my album to come out, and then just disappear.
Japanese music was so crazy! The J-pop and everything. I never scooped up an album or anything.
I think you have to drop an album to truly see the effects of your following.
Producing a film is more unfamiliar territory. Although producing an album and overseeing artists is a task within itself. But film is unfamiliar territory so, here and now, that's more difficult.
I think when you're making an album, as the songs are piling up, one of the good things about it is that you will often write the song that you need.
You ask a person what their personal favorite song on the album is, and it's literally the one with the least amount of listens if you looked at the statistics of it.
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