The God particle is that one moment where somebody in the room, whether it’s yourself or somebody else, hums something or says something where all the hair on the back of your neck stands up and everyone looks at each other in disbelief. But even with that, you could have all the craft in the world, you could have gone to Berklee, gone to Belmont, studied in Sweden, and done all of it and every hit still has to have the God particle. It’s doing it over and over again and repeating it where the craft component kicks in. There’s a measure of writing songs for sure that I would say almost anyone can accidentally write or stumble into something that just becomes insatiable and sticky. Is having a huge hit a science anymore, when things are as unpredictable as they’ve seemingluy become? (He adds that if he had to give up a slice of the writing pie to someone, he’s glad it’s a group he likes.) Tedder also weighed in candidly on not being pleased about the songwriting credits for “I Ain’t Worried.” Many assumed that the co-writing credit for Peter Bjorn and John and their “Young Folks” was given voluntarily while it’s true the trio never asked for a credit, it came from Paramount Pictures, not Tedder, who says there is no real resemblance. But our classroom time extended into his general insights about how the whole business of songwriting has changed into something seemingly more arbitrary than it used to be, and why writers rely on radio and streaming for entirely different forms of validation, in the culture vs. For the Hitmakers issue, Tedder gave Variety a master class in how the soundtrack cut was written, recorded, edited and made into a summer hit.
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