So you arrange things to stay out of the way of the dialogue….That idea applied to songwriting was exciting, because you end up with tracks where there’s immense space for the vocal to sit on top of the mix.” If you put all the instruments in the same range where speech recognition is, you end up with a score that they’re just gonna turn way down. “You can’t put a bunch of stuff in the midrange area, because people are talking. “The record was really sort of influenced by scoring, in that I wanted the music beds to hold up as instrumental tracks, and arrangement-wise to stay out of the way of the vocal - which is what you do with scoring. “I think it changed the way that I approach melody,” Droge offers. The impact is evident on Under The Waves, Droge’s fifth solo album, released August 15 on his own Puzzle Tree Records. The exercise of writing instrumental passages and interludes, rather than lyric-based songs, helped to transform his own music. His increasing awareness of the relationship between music and film (he followed that first break with the title song in Matt Dillon’s 1996 film Beautiful Girls, and he had a brief cameo in Cameron Crowe’s Almost Famous) eventually led him to the realm of creating musical scores for independent films.ĭroge’s scores adorned the 2002 indie Tattoo, A Love Story and 2003’s Catching Out. If all Droge gained from the experience was a music-biz lesson, it would have been plenty worthwhile - but it turns out that movies have affected the craft of his art as well. I had no idea that these were the things that everybody was fighting tooth and nail to get.” To even be on the soundtrack album, everybody wants that, and then to be the single from the soundtrack - all that happened. You know, the song’s played again on the end titles and then, the next thing that everybody wants is to be the lead single from the soundtrack album.
#Where is pete droge movie#
“I really had no idea of the staying power of a movie like that, and what that meant. And it’s like, ‘Oh, they’ve got a $20 million advertising budget.’ I’m like, oh, that’s cool, is that a lot? ‘Jim Carrey, he’s a big star, he’s gonna be huge.’ I’m like, oh, OK. “I remember specifically when I was told it was going to be in there, and I was like, oh, that’s cool, great,” Droge shrugs, recounting his relative indifference at the time. Lyrically clever and driven by an instantly memorable melody, “If You Don’t Love Me” gave Droge the kind of career boost out of the gate that few artists are fortunate enough to receive.
The movie may have lived down to its title, but the millions who went to see it heard Droge’s tune in a prime spot during the film, and again over the closing credits.
#Where is pete droge full#
As a mid-twentysomething upstart in Seattle sporting a bag full of catchy, rootsy original material at the peak of the grunge takeover, Droge easily could have been lost in the shuffle when his 1994 debut Necktie Second came out on American Recordings - if not for the prime placement of his song “If You Don’t Love Me, I’ll Kill Myself” in Jim Carrey’s box-office blockbuster, Dumb And Dumber. But there are other ways to get your music heard. What comes of all that is a crap shoot, and mostly not under your control, particularly given the modern minefield of radio play. In the beginning, for aspiring young singer-songwriters, it’s generally all about writing a few tunes, rehearsing them with a band, getting some gigs, booking some studio time…and, if you’re lucky, there’s a record deal, followed by a long stretch of touring.
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