When we last left our hero, Gary Clark, he was discussing his career as a recording artist…and if you missed it, then you must immediately haul yourself over to Part One, which can be found right here. Now, can we presume everyone’s on the same page? Excellent. Then we can get to the matter at hand, which involves Mr. Clark chatting about some of the work he’s been doing in recent years as a songwriter and producer for hire…
Popdose: Obviously, you’ve been doing a lot more songwriting and producing for other people than recording yourself for the last several years, but what I’ve been wondering is whether or not you do the demos yourself, and if you do, then will we ever get to hear them?
Gary Clark: I do record demos, but I don’t always sing them. Usually, I try and choose a session singer who suits whoever I’m pitching for, but sometimes, either for lack of somebody who suits or whatever, I do sing them. I haven’t really even thought about whether I’d release them! (Laughs) Very often, what happens is, if you get a cut on a record…if it’s a song that’s been pitched, one that you’re not writing with the artist, then they very often want the production as well. They then pay for the master, therefore you don’t own the master anymore. The label owns the master. But in the case of those that don’t get cut…the bad ones… (Laughs) …you never know. One of these days, maybe I will.
I just wanted to run through some of the songs you’ve written. I just recently heard Mark Owen’s “Kill With Your Smile” (In Your Own Time) and the songs that you wrote for Emma Bunton for her Life in Mono album (“Perfect Strangers” and “Take Me To Another Town“). When it comes to writing someone who’s a former member of Take That or the Spice Girls or whoever, how does that happen? Do their “handlers” approach you, or are you pitching the songs?
No, in those cases, the artist came in, and we wrote songs together. The labels kind of get to know you after awhile, which…I kind of knew a lot of them in the UK, but I’ve recently moved here to L.A., so I’m beginning again here. But they get to know you, and they sort of think, “That might work if you put them in a room together,” so they call you up, and…basically, it starts off as something you do on spec, unless you’re Timbaland or someone, in which case people charge to get in a room with you. But for me, you just get together, write a song, record the vocal, they’ll leave, I’ll finish the track, give it to the label, and if they like it, they pay for it to go on the record. And if they don’t…? Well, in fact, at that point, if they really like it, sometimes you get the budget extended to the point where you can maybe add some real drums or strings or whatever. So that’s kind of the way that a lot of records are made nowadays, because the budgets are such rubbish.
When it was released in 1988, Die Hard set a new standard for action movies. For a decade afterward, pretty much every single action movie was unable to avoid a comparison with John McTiernan’s film, which delivered such a memorable dose of pure entertainment on a number of different levels, including the use of every conceivable weapon outside of a genuine war zone. The writers of the film, Jeb Stuart and Steven de Souza (adapting Roderick Thorp’s 1979 novel Nothing Lasts Forever), contrived plot elements that enabled the film’s characters to use pistols, machine guns, a sniper rifle, a missile launcher, and enough C-4 explosives to blow up several stories of a building. It wasn’t until 1999, when The Matrix came out, that the bar for action sequences was truly set at a higher level. While The Matrix didn’t use any of Die Hard’s trademark humor, it built an intriguing universe for its characters to inhabit that served as a suitable counterpoint to the film’s unforgettable action sequences.