My style of songs will never get old because the music is very catchy.
Personally, I think 'Dead Americans' is the best title I have, but you can't win with everyone. Titles have to be short, catchy, not too obscure, not offensive, and still capture the genre, and so on and so forth. Takeshi Kitano has it about right when he says he'd just like to title his films by number.
What we're most known for is the catchy choruses and the big hooks.
Everything needs to be catchy because a listener is either going to stay with the song or lose interest in the first five seconds. But people also like those songs they can relate to and say, 'Yeah, I went through that.'
I just love catchy melodies.
Madonna can still produce a catchy pop song, but she hasn't expanded her artistic vocabulary since the 1990s. Her concerts are glitzy extravaganzas of special effects overkill. She leaves little space in them for emotional depth or unscripted rapport with the audience.
From the ashes of Bauhaus, Love and Rockets transformed its grandiosity and excesses into boldness and virtuosity. Plus, it wasn't afraid of a catchy hook or two.
You can try to be catchy without being slick, poppy without being pop, and you can be uplifting without being pompous. Because we're sometimes playing quieter stuff, it's hard to sound like we're trying to change things, but we wanted to be a reaction against soulless rubbish.
I remember writing '5 Dollars' out of intense listening sessions of Bruce Springsteen. I don't know if it's obvious, but I was obsessed with how limpid Bruce Springsteen's melodies are: It's such a great way to do storytelling and to still be melodic and catchy.
You can't just have slogans, you can't just have catchy phrases. You have to have an agenda. And I think what the Republican Party has to do, if it's going to incorporate the tea party efforts in it, is to come up with an agenda that the American people can see, touch, and actually believe in, and something they believe in.
