There’s some songs that have written that have been pretty successful and we didn’t overwork it in the room. We knew they were good somehow. And even though there were imperfections in them, we knew like they were good. It is just so weird when you know something’s good, you don’t tend to, and it, it’s almost like we didn’t wanna mess with it. And there’s still songs that I wish we’d worked on a bit more, in terms of like a rhyme that annoys me or a bit of a song that I don’t think works that well. But then once they’re out in the public domain, people sometimes don’t notice these things that we do as, as writers.
Like the little tiny bits and pieces that really bother us if we’re perfectionists. But, you know, if it’s got the right feel and it’s got a great delivery, there are so many songs that break all the rules that we, you know, the guidelines that we say about, you know, don’t do this and don’t do that. It’s like, and then someone comes out and does a song that, oh, it’s breaking all of them and it’s brilliant. So. Exactly. Well, it was, it, it was Da Vinci that said, learn the rules like a pro, then break them like an artist. Yes. Yeah.
I mean, I, I think it’s, it’s always useful to have an idea of, you know, what’s worked before and that’s why, you know, being in a room with more experienced writers is a really useful thing. But, then there’s something wonderful about being experimental and just going, well, let’s try it. Let’s go somewhere different. Let’s, let’s try something out. Yeah. ’cause you never know until you try it. I always say to when people are collaborating, when I’ve done, you know, like, bootcamps and stuff with you guys, it’s like you can’t talk an idea out.
You should try an idea. You never can say, well, I, this won’t work because, you know, an F Sharp minor doesn’t really go to a B flat major very well. It’s like, no, try it and you’ll all know.