Quotes of All Topics . Occasions . Authors
In Indiana we had a queen we named Alice which lived to the ripe old age of eight years and two months and did excellent work in her seventh year. There can be no doubt about the authenticity of this statement. We sold her to John Chapel of Oakland City, Indiana, and she was the only queen in his yard with wings clipped. This, however is a rare exception. At the time I was experimenting with artificial combs with wooden cells in which the queen laid.
I ultimately realized we had gotten together for the music. It was such a huge thing in our lives. We were at the same age, same place in our careers, and we had great fun. But when I became a mother and was at home, I realized that in reality we had very little else in common. I wasn't happy, wasn't getting what I needed. It's tough to realize that. But while a big change can be painful, it also was for the best. I'm happier now than I've ever been.
When we signed with Warner Bros., they knew what they were getting. They knew they weren't going to get some easily manipulated prepackaged pop group. That was not going to happen. What they wanted, I think, was the integrity that we had to offer. What they wanted was the kind of street cred or cache that R.E.M. could bring to them and the chance that we would give them a hit or two. What happened was we gave them a bunch of hits. And we became huge.
I'd like to thank all the indie stores from Florida to California and all points in between for being so welcoming in 2007. I played Park Ave CDs, Waterloo, Shake It, Horizon, Amoeba (LA & SF), Criminal Records, Shangri-La, Grimey's, Vintage Vinyl, Ear X Tacy, Twist & Shout,Record Exchange, and a few more I can't recall. Thanks for your help with my Grammy-nominated Charlie Louvin album and Live At Shake It Records CD. Look for my new CD in late 2008.
Over the years since then though, I couldn't even begin to try and count all the mistakes I've made but also, all the joys I've found while traveling on the road. So in living this kind of lifestyle day in and day out for that many years you learn. You learn a lot about yourself. You learn a lot about how people should be treated and how they should treat each other. For the most part, I've really learned patience, temperament and fairness all around.
I'd done all my research and seen that Booker and Gadson had worked with giant folks and little peanuts, too. That just showed me that they're musicians. They're not just interested in doing the big ones, they're interested in doing stuff that - pardon the expression - gives them a boner. I'm like that, too. I don't want to just do easy stuff. I want to keep myself freaked out all the time. Hence the title of the record, I Like To Keep Myself in Pain.
I'm seeing myself as an outsider a little bit - definitely when I started the band. I knew what band's name meant and nobody else really did, so I'd be on stage every night and say, "Hello, we're Art Brut" - basically saying that we were rejects. But I mean, I didn't really sing, it did feel a bit like we were outsiders. It was a bit tongue-in-cheek when I first named the band that, but then we slowly turned into that - like a self-fulfilling prophecy.
We did the opening tailgate party - I'm not a big football person - and it started to rain. I was a little sick and went back to the hotel where we were all staying. We didn't know whether Prince was going to go on or not because the rain got so bad. He had already prerecorded it just in case he couldn't go on. So I'm sitting there wrapped in blankets, with a hot water bottle and hot tea, and he goes on and it's the most magical thing I have ever seen.
I have a notebook that I take with me everywhere. I free-write in it when there are situations that I know I can write a song about. I will just start writing everything that I can think of while trying to write some things that are kind of poetic or sound like they could be in a song. Then, after the music is written, I go back and look at my subjects to see which one I think woud go with what music. Then, I formulate it into a melody and get the song.
I'm not talking about what came later [after the American underground punk scene], indie music, or whatever you want to call it, but the music that came before that - that's an important story. So many interviews with musicians get the time or context wrong. You have these older bands, usually men, who tell stories about "Oh, we got into this huge fight, this guy punched that guy," that's the wrong sort of story. My view of the time is truly pioneering.
I was vegetarian, trying to eat from fast-food restaurants without meat. I didn't know how to eat properly and I was starving. I was adrenalized to the eyeballs from performing. I was afraid that I was sick with AIDS. We were playing five shows a week. I even went through a period of abstinence where I didn't drink and stopped having sex. Which is crazy. Maybe I'm answering too many questions at once here, but this is where my mind was at the age of 25.
Kids don't have a little brother working in the coal mine, they don't have a little sister coughing her lungs out in the looms of the big mill towns of the Northeast. Why? Because we organized; we broke the back of the sweatshops in this country; we have child labor laws. Those were not benevolent gifts from enlightened management. They were fought for, they were bled for, they were died for by working people, by people like us. Kids ought to know that.
I think teenagers just don't have the persistence to pretend to like something they don't anymore. I used to do that - make myself like stuff that didn't immediately appeal to me. When you're 17 and checking out John Cage records from the library. It's not like it's got the hooks of a Ramones record, or a Beach Boys record. But at the same time, you're like, I know there's something in here that I'm supposed to understand. And then eventually you find it.
I remember going into a raggedy studio, still with my work uniform on. At the time, I was driving money trucks for Wells Fargo, so I had my gun and hat, which weighed me down in the heat. It was 97 degrees here in New York, and they had to turn the air conditioner off because it was too loud. So, I say, "Damn, it's hot in here!" That's how we came up with the song, "Damn, It's Hot." It was from our soul. We just got together, sang and made our own lyrics.
I would imagine after the first recording session with Jerry Leiber and Mike Stoller and Atlantic Records I began to realize that this is going to be like this for the rest of my life and I knew that what, what they were doing was going to be successful because with each session that we would do, it would get better and better and better, the songs would become better, the, ah, the feeling of success was there and we were all in the middle of that as well.
Well, it grow together. It's like, first time I try to write a song is the first time I try to play the guitar. And so I can write a song without the guitar. But it really grow together. I really like stay with my guitar. But it just happen, is the inspiration come through man. Because, I personally, it look like, could I write a whole heap a tune, it look like. But I pick special tune to write. Cause a man can think of plenty things. Yuh know wah ah mean.
I think that's a challenge as believers - how do you demonstrate the gospel? How do you do that? I mean it's easy to talk about it and say 'Oh this is what we are supposed to be doing' and this is the relevance. But how do you do that with your hands instead of your mouth? How do you do it every day, instead of just onstage, how is it enacted? And I feel like that is one of the ways that we can show what we believe, by how we treat people around the world.
I wanted my friends in the video because to leave a hard place, you need the support of your loved ones. My friends have always done that for me. I had my best girlfriends there, my brother, my guy friends who are like brothers to me and my team who's had my back through my journey. My lead guy was a good friend of mine and a talented artist named Quincy. He's such a cool guy and I felt he would be perfect for the video along with a cameo from Don Benjamin.
As far as piano players are concerned, Oscar Peterson is my very favorite. I also like McCoy Tyner. I think that the big jazz stars, both now and in the past...how shall I say it? These guys are as great as Bach, Beethoven; all of them. People don't know it yet. If jazz survives and is put on a pedestal as an art form, the same as classical music has been through the years, a hundred years from now the kids will know who they were, with that kind of respect.
I am lucky. I did not choose this life. It chose me. It's strange like that; not picking my path, but rather easing into the water and letting it carry me where it will. Yes, there will be nights where I feel like my destiny is at my fingertips and there will be nights I wish the lights were off and I could just make these sounds in the dark. Still, I will always be there, wherever there might be, staring into blackness hoping the blackness stares back at me.
I am an anarchist in my personal life. I try to live my life in a way that I don't need cops or baby-sitters to keep me from infringing on others. But I don't feel we have evolved far enough as a species to make anarchy work in society itself. We still need government to transfer the wealth from those who have too much to those who have too little, to make sure important projects get done, and keep territorial humans from screwing over and killing each other.
Kevin [Drew] beat me to the punch because when he first sent "Sister OK" and I'm listening to it, it took me to a place that I had not been to in a long time. It took me to a place when you're a teenager. I understand it all now, but in a moment of confusion, in a moment of trying to find some kind of solid ground in an environment that was quicksand in my life, it's that first line just kills me all the time: "Well it's just that your sister said you'd be OK."
I'm all for file sharing. That's great - as long as people are prepared for the significant consequences. One is that music will become completely couched in advertising. That's already happened. And another is that people should be prepared to have fun with the past because the only music that can possibly be free is the music that's from the past. It costs money to make music. And if people are prepared to only have the past to listen to, then let it be free.
I think in L.A. everybody has a really cool flare, trendy style here. I think I kinda adapt be it I'm a little more trendy in L.A. Somewhere in New York, I could literally sit at a café and have a cappuccino and watch people walk by and it's like a fashion show to me. Compared to somewhere like Miami where I literally wear beachwear all day and I can walk around barefoot. My style is consistent. It may bend a little bit according to cities, but that's about it.
This is America. We're proud. We're not afraid of a bunch of terrorists. But this government is all about terror alerts and scaring us at airports. We're changing the Constitution out of fear. We spend all our time looking up each other's dresses. Fear's the only issue the Republican Party has. Vote for them, or the terrorists will win. That's not what Reagan was about. I hate to think about our soldiers over in Iraq fighting for a country that's slipping away.
We were in Greenville, South Carolina, where he lived, and he was coming the next day to the show, but he passed away the night before. I was very close to my grandfather. He was the first guy to teach me how to ride a motorcycle, so (his death) meant a lot to me. It just gave me a perspective on life and how important it is to live it and enjoy it while we're here. Sometimes we're looking for the grass to be greener, and what's awesome is right in front of you.
It’s innate in me to be a Democrat — a true Southern populist kind of Democrat. There’s not a lot of those anymore. I’m not saying I’m right or wrong. That’s just the way I feel. The issues that matter to me are the social safety nets for people, health care, middle-class concerns. We need to take care of the middle class and the poor in our country. The chasm is getting larger between haves and have-nots, and that’s something we need to close down a little bit.
The only recording studio was in Motown - it was called Tamla/Motown at that time and we used to audition there because Smokey Robinson was at that studio and Berry Gordy was the president. I remember asking Smokey to listen to my group and he did. For the first couple of years we were just singing background. We used to back up Marvin Gaye; Mary Wells was there then, Marv Johnson, the Marvelettes, Martha Reeves and the Vandellas, Junior Walker and the All-Stars.
How could God invite you to heaven, where the most exciting thing to do all day is gaze upon His glorious face, if you're not in heaven right here on earth when you're alone with Him? Do you think that after you die, suddenly you'll be in heaven and "presto!" all at once you're not going to like worldly things anymore? All of a sudden you'll love more than anything else just to hang out with God, when you couldn't stand being alone with Him even 20 minutes a day?
I wanted to feel like I could extend someone else's joy and not crush it, and that is the giant paradox nowadays of being a powerful woman: you want to live in a space of compassion and helpfulness and joy and expression, and the world is standing there, pointing the finger at you and telling you that you're greedy and domineering and attention-grabbing, and all you can do is shrug and just say, "Hopefully, someone out there understands and isn't misinterpreting."
In New York, I was excited about the music in New York because the only music that I was more or less involved with in the South was either country and western or hillbilly music as we used to call it when I was a kid and, ah, gospel. There was no, there was no in between. And when I got to New York all the other musics that's in the world just came into my head whether it was the classics, jazz, I never knew what jazz was about all, had heard anything about jazz.
When you finally realize that peace is your natural state of being then you will know that any form of non-peace is a belief in illusion. Illusion that anything should be something other than what it is which can never be so. What if instead of waiting for what isn't to become your version of what is, why don't you be peaceful right now while you alter what isn't for you if you so choose? Is it ever worth it to wear a cloak of non-peacefulness over God Brilliance?
This is the world. I don't really believe in hell or heaven or an after life at all, I believe this is it. It can be a paradise for you, if you've got the right mindset. Or it can be a total nightmare. The song is just about remembering these moments of, you know, these epiphanies or magical moments of clarity that I think everybody has at some point in their life, often, while they're taking acid or something like that, or while they're doing really intense yoga.
Over a year before I started recording Salad Days, so I finally sat down and was like I have to do this. And it did feel like a chore. I was looking at it in a completely wrong way, trying to one up myself. Just the typical sophomore album bullshit. The main thing I got out of it is I eventually gave up on all that stuff. I had to re-learn why I liked making music in the first place, why I liked recording in my room all the time. Because it's fun. It's fun for me.
Having children changes your behavior. Your personality doesn't change, but you're more cautious of what you say and how you say it to start with-so that already changes things. My mind is not completely mine anymore. I used to be able to concentrate and achieve things. Now I find it much harder to focus, because it just seems that half your brain doesn't belong to you anymore. My kids are still little. Maybe it will change more when they're older, but I doubt it.
Personally, the message that I would like to convey to everyone is just that life is really great and you can do whatever you want with it. That's what I feel like I've gotten out of my experience with the band, because I have done so many amazing things that I never thought I would get to do-and I don't really feel like I'm any more qualified than the next person. I feel like people should take their goals seriously and do exactly what they want, because they can.
You can't just be a wimp and then a year and a half or two years later decide to not be a wimp anymore. Because people will always treat you like a wimp once they have decided that's what you are. You have to be strong and tough and intelligent and smart and kind of plan out what you're going to say and know who you are. So that people will get that right away. Because then they're always going to be great to you. And they're always going to treat you with respect.
I like the idea of reincarnation. I'm not a true believer, but I think the idea is beautiful, that life just doesn't stop. For soulmates, it's the term that I'm a little bit skeptical of. As soon as you put a label on something, it seems like that's it, you're done. Obviously I believe in love and making it last forever, but what's beautiful about that is you don't know if it's going to last forever. When you don't know that this is it, you, I think, enjoy it more.
I never wanted to grow a thicker skin; I felt a real sense of pride in my thin skin, and in a weird way, I still do, because it's my thin skin that allows me to empathize with other people. It's the thing that allows me to create vulnerable art. It's the thing that allows me to create other feelings and make songs that actually grab people and touch people. I feel like I've spent my life fighting that thicker skin because I don't want to become an embittered asshole.
You don't become an 'artist' unless you've got something missing somewhere. Blaise Pascal called it a God-shaped hole. Everyone's got one but some are blacker and wider than others. It's a feeling of being abandoned,cut adrift in space and time-sometimes following the loss of a loved one. You can never completely fill that hole-you can try with songs,family,faith and by living a full life...but when things are silent, you can still hear the hissing of what's missing.
I've only had a sit-down encounter with Robert once, and that one conversation was the best advice that I have gotten from any individual in the music industry. R Kelly told me that as long as I write life and not music I will always have a job. He listened to several of my records and told me that they were great records and for that to come from a man who has produced hit after hit gave me a comfort and reassurance that making honest and good music was not in vain.
Have you ever lost yourself in a kiss? I mean pure psychedelic inebriation. Not just lustful petting but transcendental metamorphosis when you became aware that the greatness of this being was breathing into you. Licking the sides and corners of your mouth, like sealing a thousand fleshy envelopes filled with the essence of your passionate being and then opened by the same mouth and delivered back to you, over and over again - the first kiss of the rest of your life.
Let that get you up in the morning and put the light in your eyes. I'm telling you, it makes you a better husband, mother, father, neighbor, citizen, when you have that light in your eye, that you feel so good, and you're a pleasant person to be around. "Good morning, sir. Did you find everything that you need? Oh, that's over in aisle seven. I'll come help you as soon as," that's the stuff. Find something. It could be planting flowers, especially if you can watch it.
The big change was reggae and hip-hop, which came along after Split Enz had started. When Bob Marley first visited New Zealand, he lit a fuse that is still burning very brightly. The Maori people particularly honor reggae music in a very big way. So there is a strong reggae scene and a strong hip-hop scene, especially among Samoans. There's still plenty of quirky stuff around. No one expects to make much money here, so it definitely does encourage an underground sense.
When you get in the middle of a career and you're successful, people come and offer you things. My biggest fear was that if you try to do something else and you're trying to build your music career, and then you say, "I'm going to go do a movie," and you're terrible, you can really hurt your music career because as a musician, the goal is to be cool. You're playing the guitar and you're in front of all these people and your vibe is to be as cool as you can possibly be.
One of the best things that's come out of the Seattle protests is the birth of the Independent Media Center. It's not as though the independent media movement wasn't already there, but it's given it another jump-start. There's the feeling that not only should we report on our underground culture and our own situation, but now we have to start telling people what's really going on at a time when everything from CNN to USA Today is as tightly controlled as Tass or Pravda.
All of Europe is tremendously integrated now; perhaps from all those years of colonization. Everybody that they've colonized has come to the mainland, so you'll have a racially diverse audience as well. You'll have many Middle Easterners, Asians, Africans, from seven to ninety sitting in the audience, and the really incredible thing is that they all know the music. I don't mean they just know a song here and there. They know the music. They are a very educated audience.
I'm different now, but back then I used to be the type of guy who would say, “I like you. Do you also like me or not? No? Tell me the truth. I'll give you time to think about it!” But now This isn't a lie but I've had 3 girlfriends, and I've dated each of them for 3 years. When it comes to dating, I'm the type who would be with someone for a long time. Before we start dating, I'd keep watching her. It's because I hate being hurt. I tend to give my everything once I date
I had a couple albums out that sold well for who I was at the time and the type of music I played. People started recognizing my name and face and it helped sell bigger venues. I had a bigger spotlight and I had to live up to it but I thrived under that challenge. It expedited the creative process. If I was on stage in front of 300 people instead of 30, I had to work harder at my performances because I had a greater responsibility. It was very exciting, but creative too.
My father urged Alan [Lomax] not to repeat the mistakes of the European folklorists who, a century ago, had collected these peasant songs and then arranged them for part choir and accompanied them on piano, and then told the young people of their country, "Don't change a note, this is our sacred heritage." Father said, whether it's a fiddle tune or a gospel song, learn it right off the record from the people who grew up with it. Don't just learn it from a piece of paper.