So I did 'Something Happened on the Way to Heaven' and the original version is a ballad. The original Phil record is uptempo but we slowed it down and made it a ballad.
It has no rhythm, but it will because it's so much faster.
Well, you can't throw heavy, analytical, thought-provoking songs at people 24/7. It's been my experience over the last 20 years that on a rare occasion, in a live setting, if you can slow people down to listen to two good ballads, then you're doing pretty good. Then throw a tempo at 'em. Then have fun.
Sam [Phillips] wanted I Walk The Line up - you know, up-tempo. And I put paper in the strings of my guitar to get that (vocalizing) sound, and with the bass and the lead guitar, there it was. Bare and stark, that song was when it was released. And I heard it on the radio and I really didn't like it, and I called Sam Phillips and asked him please not to send out any more records of that song.
When I was young, and I would see bands playing, I would dig the rock & roll and get excited, but when they would start to take the pace down, my attention span would start going.
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
I think very few shows have come into our industry and changed the tempo and the narrative of stories, and 'Once Upon a Time' did that.
I started dating JD Samson from Le Tigre, and suddenly I was listening to more up-tempo music and old dance music, like ESG and Gang of Four, and I thought, 'Wow. This is fun.'
As a film director and as film actors, you get used to a certain rhythm that's slow. But with TV, it's hurry, hurry, hurry, hurry, hurry. It's a different pace. So, it's about adjusting to the pace. It's not meant for everybody.
I understand that transposing a song a half step can effect the believability of a lyric.
We definitely were a punk band. When we got in with our producer, Richard Gottehrer, he slowed everything down so that you could actually hear what Belinda was singing.
I was really bored of making downtempo albums.
I wanted to change up the tempo and setting of my comics in the sense of giving them some variety, for one thing. So where, for 'Slump,' the art was very America-esque, in the case of 'Dragon Ball,' I made it as Chinese as could be.
I do always like to sing Lana Del Rey, just because I know all her songs. But people at karaoke always want something up-tempo. Sometimes the energy level will change from 'party' to 'emotional,' which I think is great but some people don't.
There is no music in a “rest” that I know of, but there's the making of music in it. And people are always missing that part of the life melody.
When I started writing material, I realised you could take a ballad like Usher's 'Nice and Slow,' sing the same melody over a garage track, and everyone would be up and dancing.
Woke Up Today' is a number of different sections compounded together. There's the melodica solo section which is three divisions; there's the really funky thing in eleven before that, there's the chorus and verse and there's the ending which slows down and speeds up.
I believe the term modulation denotes in music the uninterrupted shift from one key to another: I do not know the term for change of rhythm without change of measure.
What makes games so exciting is that's a whole other- there's all sorts of other considerations on what music is supposed to achieve and what you're attempting to support, it's not uncommon to think of your music and to think of the way your orchestra plays for something like Jack and Daxter where you start with- you know because it has to change tempo and intensity as the action gets more intense.
