Steven Spielberg Bob, Sean Hopper, Chris Hayes discussed on Sodajerker On Songwriting

Automatic TRANSCRIPT

Really because we grew up in the air of four and power love of course that song in particular power. Love it so omnipresence. Isn't it even to this day? We hear all the time I think to an extent you can kind of forget. What a great piece of music. It is well Sure that sweetie to say you know. I don't know all I know about power love I remember is that you know because again. We're producing the records ourselves so we're trying to get them done and we're doing and I remember seeing the vocal in studio city and the record plant and those days were recording with analog tape so we only had twenty four tracks and one was for seventy so he only had twenty three tracks so he had to be judicious about your tracks. So what you cut a vocal was GONNA sing three times and then you comp it to one track pick whichever wins the best one and then go down till there was a mistake and then you have a contract and then you erase those three tracks so now you only have one track. So I'd Sung vote when I came back in and I calmed down. And then I just played it to listen to the COP vocal the rest of the Vogel and I was engineered by myself. And Sean Hopper Kinda came in the control room our me and the thing played down. I'm just listening to the vocal. Listen to listen to it and vignettes. Okay mom and when it finish hopper said that's the best thing we've ever done and I went well really I hadn't even considered you know what it was. Yeah Yeah it's good you really as I mean I. It's a classic. Never know that though. You know it's one of those songs that just got up and flew and you know thank God I mean. That's a gift that's just a gift. Did it start with Chris Hayes not one without vamp yeah? Chris had a little progression. Which was the verse progression? And then I had a meeting with Steven Spielberg Bob's zemeckis neo canton and Bob Gale. And they said look. We've just written this film and the lead character's Mardi MC fly and his favorite band would be Louis. How about writing a song for the film I said? Wow that'd be great. I mean a flattered. I don't know how to write for film necessarily frankly. I don't quit fancy writing a song called back to the future. No problem just the next thing you rights and down to us we just want one of your songs is what they said. I said okay. We'll I'll send you the next thing I write and I had these various progressions on that little piece of music of Christmas and I put it on a Walkman and I went on a little run. It hit me and I was kind of inspired by my kids and I wrote it in one sitting and then I think I sang it on the demo. And send it to Bob's America's it gets a little unclear here because I thought we just send the too many loved it but some Mecca says the one I sent it to him. He thought it was an up enough and he told me. And I said okay well because the verses in a minor key in so I mentioned that to johnny and Johnny had an idea and he put up the bomb bump those three chords stabbed his yet and then they loved it. That's how we did it. One of the things I think is most special about that. Song is is actually the bridge. That's Christmas bridge is beautiful courts. Yet will Rick Rubin once said if the bridge isn't the best parts of the song that shouldn't be a that's interesting and that song sort of exemplifies the I think it's so great songs have great bridges. Yeah and that's where a lot of songs fall down there. Good but got no bridge and they disappeared in the nineties. I think that's why eighty songs are still popular. Because they follow that formula for an American popular song which is Verse Chorus Verse Chorus Bridge Chorus. Out or course out And everything's in fours for the most part three four four four eight bars or you know in fours and that's the way it's done. It's like Haiku trying to reinvent the wheel. That's what you're trying to do too remember Kennedy when it comes to in time. I.

Coming up next