We human beings are tuned such that we crave great melody and great lyrics. And if somebody writes a great song, it's timeless that we as humans are going to feel something for that and there's going to be a real appreciation.
Records became much cruder in the last 20 years. Let's put it that way.
Rodgers and Hammerstein didn't mean anything to me. I just wanted to have a hit, I just wanted to be like those people on the radio. It was all of a case of the present tense with no projecting into the future, particularly.
Paul has more, I think, of a feel for the stage. Whereas I have it more for the notes themselves. I love record making and mixing, arranging, producing. That I love. I love to make beautiful things, but I don't like to perform.
I did have a lucky thing going on there in my throat.
Paul's the writer. Yeah, I wrote a little of that stuff, but that's just technically true. In spirit, and in essence of the truth, it doesn't matter. So I don't know, maybe I'm being foolish for not being technical. Yeah, I wrote a certain portion of the things.
I was a student at Columbia College, actually, in the Architecture school. Paul would drive in from Queens, showing me these new songs. I can't remember us working it out.
When Paul and I were first friends, starting in the sixth grade and seventh grade, we would sing a little together and we would make up radio shows and become disc jockeys on our home wire recorder. And then came rock and roll.
So it's mix and match. Hold your line when you really feel something you're saying is wonderful and you really want to get this point across and prove it to your partner by just throwing it into the tape and letting it speak for itself.
I did three and a half years in the architecture school with no real love or feel for it. After quite a while I realized I don't like to pick up a pen and freely sketch and let my imagination run towards structures. And if I don't have that natural desire, what am I doing here How did I let this illusion go on so long
I'm the kind of person who can hear that stuff. If you sing along to the radio and you're not going to sing unison with the melody, but find the harmony, I find that pretty easy to do.
We're aware that it has resonance for the times, yes, ... But we chose it because it was the first hit we ever had, and it put sort of a bookend on our career.
Records have images. There are wet records and dry records. And big records.
We'd go to the fraternity house. It was a good place to practice. But we really wanted the kids to overhear us. And whoever heard us would go nuts over it.
Paul is a very creative artist but I'm more that thorough, meticulous, disciplined nut.
I like working solo and it was a lot of fun joking around with the audience, saying things. I'm only just learning how to do certain things.
To the extreme. Dylan was the coolest thing in the country. If you were a young person at that age, maybe you don't go for Dylan's gravelly style voice, but who he was and how different and bold his lyrics were, and his look, that was the closest thing the record business had to James Dean.
After all these years, I'm finally into soccer. The World Cup is on, and my band is an international group - they're all around me, cheering in the hotel bars.
I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.
I teach well. I used to really like teaching a lot. I enjoyed it a lot and I was good at it.
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