I knew the words to 25 rock songs, so I got in the group. Long Tall Sally and Tutti-Frutti, that got me in. That was my audition.
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Those minutes that I'm on stage are the best! Being there and looking at the crowd and seeing their faces, hearing them sing the positive words from the songs.
I think it's something to do with the structural quality of the songs. We weren't actually trying to make stuff that was cool, or of the moment, although a lot of it was. We were trying to make stuff that was good enough to stick around and lo and behold, it has.
The public has heard the stereotypical love songs a million times, and they've heard the stereotypical life-or-death songs millions of times. It's good to mix it up a little bit.
Songs should follow the state of mind of the actor on screen. It can be grammatically perfect, you know, with all those embellishments that the ustads are good at, only if you're singing for a film on, say, the life of Tansen.
People are afraid of Beatle music. They are still afraid of my songs. Because they got that big image thing: You can't do a Beatle number... You can't touch a Lennon song; only Lennon can do it... It's garbage! Anybody can do anything. A few people in the past have done Beatle songs. But in general they feel you can't touch them. And there are so many good singles that the Beatles wrote that were never released. Why don't people do them? It's good for me; it's good for Paul. It's good for all of us.
I'm coming out of the folk music tradition and that's the vernacular and archetypal aesthetic that I've experienced. Those are the dynamics of it. I couldn't have written songs for the Brill Building if I tried. Whatever passes for pop music, I couldn't do it then and I can't do it now.
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