Song Exploder - Pharrell Williams - Piece By Piece

Episode Date: October 16, 2024

Pharrell Williams is—well, let me just say, he’s a big reason why Song Exploder exists. He’s a singer, songwriter and producer, and in the 90s, when I first heard the work that he was doing with the Neptunes, which was his production duo with Chad Hugo, it blew my mind. It made me want to know where those sounds came from and where those ideas came from. Pharrell has won 13 Grammys. He’s been nominated for two Oscars. He’s produced iconic songs for Kendrick Lamar, Britney Spears, Clipse, Gwen Stefani, and so many others. And on his own, he’s made songs like “Happy,” the giant hit for Despicable Me that was the best-selling song of 2014. And now, there’s a movie about his life called Piece by Piece. But it’s an animated Lego film. For this episode, I talked to Pharrell about the title song from Piece By Piece. So, coming up, you'll hear how Pharrell built that song, including a first draft that never saw the light of day. You’ll hear how he built “Piece by Piece” by programming it, on his own, with MIDI instruments, and then adding and replacing those parts with other musicians, including the high school marching band that he used to play in. For more, visit songexploder.net/pharrell.

You're listening to Song Exploder, where musicians take apart their songs, and piece by piece tell the story of how they were made. I'm Rishi Kesh Hirwe. Forel Williams is... Well, let me just say, he's a big reason why Song Exploder exists. He's a singer, songwriter, and producer, and in the 90s, when I first heard the work that he was doing with the Neptunes, which was his production duo with Chad Hugo, it blew my mind. It made me want to know where those sounds came from and where those ideas came from. Farrell has won 13 Grammys. He's been nominated for two Oscars.

He's produced iconic songs for Kendrick Lamar, Brittany Spears, clips, Gwen Stefani, and so many others. And on his own, he's made songs like Happy, the giant hit for Despicable Me that was the best-selling song of 2014. And now there's a movie about his life called Peace by Peace, but it's an animated Lego film. For this episode, I talked to Farrell about the title

song from piece by piece. So coming up, you'll hear how Farrell built that song, including a first draft that never saw the light of day. You'll hear how he built piece by piece by programming it on his own with MIDI instruments, and then adding and replacing those parts with other musicians, including the high school marching band that he used to play in. I'm Threll Williams. I never wanted to do a documentary on my life or my musical career.

I just always strayed away from it. I just don't like listening to myself talk. I'm an artist, but I'm more so a producer, and I'm much better at helping other people hone their craft than I am the person who enjoys seeing myself on the camera or listening to myself on a recording. For example, like, I did a song called Beautiful with Snoop 20-something years ago, and I'm singing in falsetto on the chorus.

Like, a lot of people could like it, But when I was listening to it, I would just hear Mickey Mouse. Because I sing like this. Hi, kids. You know, I was a very harsh critic on my work. So I didn't want to do a documentary and listen to myself for an hour and change. But it was actually only until my agent was just like being so forceful. He was like, you got to make one.

And finally, he said the magic words, which were you can do it whatever way you want. And once I heard that, I was like, okay, if it's truly whatever way I want, I wanted it to be animated and through the guise of Lego. Did you play with Legos when you were a kid? Yes, that's where this all comes from. My parents would get me those things for Christmas and it's like, it's a big deal. And the filter of Lego gave me the space and enough degrees of dissociation where I can like look at it objectively. piece by piece started out a completely different song. It's a sweet song.

It's like, yay, you know, we. But that's all it is. It's sweet. But I was like, man, this doesn't disrupt the dance floor. It wasn't sticky and it didn't feel urgent. And I knew that like I wanted something urgent for this film. I wanted the verses to just be like, aggressive, like a 1977 Trans Am.

You know, when you hit the gas, it's like, like it needs to do that. I was like, the melody's cool, but this just ain't it. So I started from the basic building blocks of what the drums were. And that boom, boom, boom. That part right there, that ended up taking on a new life and a new thing is piece by piece.

Peace by piece. I program all of my instruments. and logic. That's a clavichord, but like a fusion of a little wah-wah type guitar vibe. And the baseline needed to feel like,

you remember this movie called Drive or Ryan Gosling? Yeah. You know that jacket that he wore? The Scorpion jacket. Yes, the Scorpion jacket. I knew it needed to feel like I was putting on that jacket.

I don't have a word for it. I just know the feeling. The feeling is like that jacket. When you hear that, it doesn't sound like the daytime. It sounds like the night. Very dark, very nocturnal. It feels like a club scene.

It sounds like you're driving. I knew that I wanted to sing the first verse in my lower tone. I decided a long time ago. I would write my own chronicle. Sit around. That ain't me. Nor is following a lead. And I layered it like eight times on top of myself.

Because I wanted it to be clear and I wanted to feel like the urgency of an Army. Let me build what I see. You know it starts with a piece. Give it time, let it breathe instead of suffocating crazy dreams. If I'm going to talk about my life, like, then I need to have a track that sort of encapsulates everything that I am. You know, I have songs that are like very dark and feel very nocturnal, which are the

verses of this one. And I have songs that are very bright and feel like the daytime. And that's what the chorus does. So that just sounds like joy to me. And when it pays off, pays off, that feels very bright and very, like, sunshiny. You know, and I wanted people to feel that, that freedom and release of tension. I play and program all of my instruments, and then I get live musicians to replay them. So I got Brent Paskey to replay my guitar.

And then I sent him a voice note to be even more detailed, even more forensic about what I wanted. the guitar riff to sound like. In the second verse, I take it back and I give you a little bit of context. I get vulnerable and I sing in a higher octave. I got butterflies. I got butterflies. Don't look surprise, girl. Don't look surprise, girl.

With a dream that's a princess and marching cavaliers. My high school band, that marching band was such a strong part of my story. I started right after seventh grade. So I was about 12, 13. I've always played percussion and I played bass drum. And the bass drum sounds basic, but marching bands have a bass line that has four to five different bass drummers playing in sync.

I was a part of that line. And I think it's given me the breadth that is given me musically because we were learning overtures and rhapsodies and concertos and all these types of things that like the average musician probably didn't have to go through. So it was like a flex.

It's like, yo, my high school marching band on this song with me because I never dreamt when I was standing in that drumline that I'd be given an opportunity to do anything like this. So let's do it. And when it pays off, pays off.

It feels so good inside. Screaming, I told you, I told you. I told you. I was kind of like writing to the fact that it was kind of like a breath of fresh air right at that moment and a release and an exhale, you know, and being metaphorical for like when you get to that place in your life too. Feast by peace, peace by peace, peace by peace, peace by peace. You know, the anatomy of a song is always interesting when you see what the urgent and active ingredients are. it's always interesting to see those things isolate them put them together see how they work the mechanics it's like a really interesting thing and that's zoomed in right but when you zoom all the way out

and go to the macro of it all i am not thinking as much as i am feeling the construction of a song is not a thought thing it's more like sculpture you're just chisling away or you're adding clay, you know, it's like that. Music is the skeleton key that's opened every door for me. I'm 51. I love making music. It's not about chart position. It's not about like the gamification that the industry places on you, that you need to do this and you got to do that.

Like, I'll make music because I love it and it's so fun. And if it ends up being a big record, cool. I went through that in my 20s. Like, oh, you know, it's got to be this chart topic. I mean, cool. It does what you want to do. But I make music because it's fun for me. And there's no pressure in having fun.

Coming up, you'll hear how all of this came together in the final song. I have a new album of my own coming out on April 24th. It's been about 15 years since I last put out of full length. And this is the first one that'll be out under my own name, Rishikesh, Her Way. I started making Song Exploder when I was feeling lost in my own music. career. And then for over a decade, I've gotten to have these incredible conversations about the process of making music, talking to other artists, and it made me completely rethink my relationship to music and my way of writing songs. And this album is the product of all of that.

It features contributions from some of my favorite artists, including some folks that you may have heard on this podcast, like Iron and Wine, Kevin Morby, Vagabon, Fenlily, and the producer Phil Wine Rope. I'm going to be on tour playing in cities across the U.S. starting in April And I'm trying to bring the spirit of the podcast with me. So every show that I'm playing will begin with a conversation about the album with a different amazing guest moderator in each city, like Adam Scott, Samin Nasrat, Jason Manzuchas, Josh Malina, Minjin Lee, Ken Jennings, John Roderick, Austin Cleon, and more. They're all going to be my conversation partners on stage.

And then I'll play with my band. The album is called In the Last Hour of Light, and the first couple songs are out now. You can listen to the music and get tickets for the shows on my website, rishikash.co, or just go to songexploder.net slash live. That's songexploder.net slash live. Thanks. And now here's piece by piece by Farrell Williams in its entirety. Visit songexploder.net slash Farrell to learn more.

You'll find links to buy or stream piece by piece, and you can watch the trailer for the movie. There's also a Song Exploder episode about the song Just by Run the Jewels, which features guest vocals by Farrell. And if you want to check that out, there's also a link to that in the show notes. This episode was produced by Craig Ely,

Theo Balcom, Kathleen Smith, Mary Dolan, and myself. Our production assistant is Tiger Biscope. The episode artwork is by Carlos Lerma, and I made the show's theme music and logo. Song Exploder is a proud member of Radiotopia from PRX, a network of independent, listener-supported, artist-owned podcasts. You can learn more at Radiotopia.fm.

And if you'd like to hear more from me, you can sign up for my newsletter. You can find a link to it on the Song Exploder website. You can also get a Song Exploder t-shirt at SongExploder.net slash shirt. I'm Rishi Kesh hereway. Thanks for listening.