A Billy Momo song usually contains a lot of stuff. A lot of different influences, different sounds and instruments you may not usually hear in the same tune. We do enjoy the picking and choosing of different sounds that inspire us and boiling it down.
The one thing that it always seem to revolve around, though, is groove.
We’ve all grown up listening to all kinds of styles. There’s really no common theme there. We’re all totally schizophrenic with our taste in music and have always been. But me and Barba did start out together as bass player and drummer and that means you have to groove. We were both pretty much into hip hop at the time. Still are, but we were young then. We didn’t have to mumble the best parts of the lyrics when rapping to ourselves in the kitchen just to avloid the “daddy, what’s a motherfucka?”
We had been playing a lot of different styles together by the time we started Billy Momo, but RnB, hip hop, funk was dominating.
And most of all, I think the basic structure of rap tunes appealed to us. A beat, some attitude and whatever the hell else you wanna add. That’s the content of a hip hop song. So long as there’s a beat, you’re good. The rest is anarchy.
We don’t always have a beat, we sometimes settle for the “whatever the hell else”-part. But usually, we work alot on the groove part.
One of the things that made it clear to me that Barba is the best songwriter partner I could possibly wish for, is how we refer to the same music in the same way. We hear the same things.
We could be writing a country ballad and one of us could go:”mayby a little more
Wu-Tang here?” and the other one would know what to do.
These are some of the grooves we often refer to, plus a few that I’ve kept secret:
Satisfy my soul – the Wailers
Family affair – Mary J Blidge
Da Rockwilder – Methodman/Redman
If you want me to stay – Sly and the family Stone
Eyes on the prize – Mavis Staples
Hey boy – Teddybears STHLM
Billy jean – M.J
For U – Bilal
Minor swing – Django Reinhart
Lemouima – Orchestre National de Barbes