We wanted to keep it all solo stuff really sparse, really simple from a production because it's about the songs more on the record. So some of the moments on the record are, the electric guitar solo at the end of “March On, America”, that's actually a violin solo.
Really? Cause that really does sound like electric guitar.
No, that's electric violin. That's one of the staples of our live show. And similarly there is a violin solo on “We All Go Home” that we expand when we're performing it live. There's some fun stuff. I think we succeeded.
Also the co-producer [Jesse Siebenberg] and I, both of our parents are famous, they had a lot of pop success, and we both had a little bit of a chip on our shoulder to create and produce some slick popish stuff. Even though we both hate pop and don't even listen to pop, I think, to a certain degree, we got that out of the way.
I wanted to ask you about one song in particular, the last track, “Same Old Song”. It is the only song on the album that seems to be a deeply personal song.
I agree. It is the most personal song on the record. I actually wrote that song with a buddy of mine who passed away a couple of years ago. That is a personal piece for me.
What is it about?
It's really about negotiating the shadow of my father. There are moments where you can interchange whether or not I am talking about Kenny as a young boy, or me as a young boy. The similarities in our journeys.
Can we talk about you being the son of Kenny Loggins?
Yeah, sure.
Do you think it's helped or hindered you in the long run?
A lot of people ask that. I really do believe that it is a fair measure of both. There's a lot of expectation. You can afford to use opportunities that others might not get but people say again and again that if you aren't talented when you get those opportunities you're never going to be invited back again.
Article comments