Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.
Some people start with the lyrics first because they know what they want to talk about and they just write a whole bunch of lyrical ideas, but for me the music tells me what to talk about.
I connect music to the emotions that come from relationships, so most of the songs that I write are inspired by those circumstances, emotions, feelings, all that kind of stuff.
Riffs are a repeating thing. They come back to you. Some of the things on 'Back in Black' were ideas we had knocked around on tracks before that: 'That bit - maybe we should take a chunk of that and slug it in here.'
The more settled I've become, the more problematic my characters have become. There was a period when I wrote sensitive and gentle songs and these came at a time when life was at its most destructive. I think you write about what you need, on some level.
I think there's a good pop song in pretty much anything.
I can only speak for myself and my own music, because that is what I am most familiar with, and I write about things that I am living or experiencing.
There's a constantly applicable nature to soul music, whereas sometimes pop music can be a periodical.
I think I've always approached making albums pretty much the same way. I'm just looking for a mixture of songs and topics that aren't the same thing over and over.
I think people like listening to what I call trippy music but maybe next year it will be something else. I still have gangster tracks and real-life stories and situations in my music. I’ve been blessed because over 20 year, I never stopped doing what I was doing. It’s pretty much the same thing and I’ve never really changed anything up.
Since the songs were written over a five-year period, I think these are little snapshots. Some people call it political or topical, but I think each song is self-contained. I think it fits together as a picture of the last half-decade of time.
I think a lot of people think that my parents' deaths is why I write such sad songs, but that's not true. Those songs may just be the woman I am.
My favorite pieces that I've written, either for St. Lucia or for myself, have always had a transporting quality to them, where they take you out of the moment and somewhere positive that feels nostalgic and happy but sad at the same time.
From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.
I don't get into heavy political numbers because I don't find them lyrical.
Our music over the years has been very cinematic. It's surprising we never really got into film soundtracks.
In the Air Force, I had an old Wilcox Gay recorder, and I used to hear guitar runs on that recorder going (vocalizing) like the chords on "I Walk The Line." And I always wanted to write a love song using that theme, that tune.
Film scores are often based on short themes, and it helps if you've got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.
Do you think I'm wandering around all day thinking, 'I must write a song called 'Three Coins In The Fountain'?' Only an idiot would do that.
'Tragedy' and 'Loud City Song' are both inspired by stories from the past.
We're both getting older, our children are starting to leave home. But I can say that I'm just as passionate a songwriter now in my 50s as I was in my 20s. But instead of talking about the general kind of angst that I felt as a teenager, I'm writing about more specific issues.
Whether the issue was black political power or nuclear power, Scott-Heron didn't mince words. His comeback record, 'I'm New Here,' doesn't mince words either, but instead of political battles, these songs suggest he's fighting personal ones.
There's a certain darkness to Slipknot, but at the same time, there's a very strong dose of positivity. Stone Sour is the same way. There's a certain melancholy that comes with the slower stuff, but at the end of the day there's also that other side that is very positive. It's all how you deliver.
Berlin inspired Bowie and stirred him to write about real, important matters.
When I was 20, Shostakovich was my favorite composer. I still find his Fifth Symphony wonderful, with its outstanding themes and rhythms. That's the piece that made me want to be a classical composer.
