Well any man with a microphone<br/>can tell you what he loves the most<br/>and you know why you love at all<br/>if you're thinking of the holy ghost<br/>if you're thinking of the holy ghost.
Music is what I have to do, I only answer the questions so that I can do it.
A lot of people in the media, and some everyday people, really aren't in search of the truth. They're in search of something worse than that. Money, yeah. I think the media's the kind of a thing where the truth doesn't win, because it's no fun. The truth's no fun.
For new bands, I think a major label is the safest place to be. Independent labels are the ones getting away with murder. A lot of them are hobbyists who rip-off young bands, taking advantage of people who would never get signed to a major.
I came up from growing up with a lot of Catholic guilt, a lot of punk rock, hipster guilt in the later years where I think people have thrown a lot of things on me. Where I always felt like I'm not supposed to tell the horn section what to play or I don't want to come off egotistical.
I want to be part of the resurgence of things that are tangible, beautiful and soulful, rather than just give in to the digital age. But when I talk to people about this they just say, 'Yeah, I know what you mean,' and stare at their mobiles.
I wanted to be able to talk with people who have trade jobs and make records with them. I want to do more records with carpenters, electricians, people who specialize in even more bizarre trades that are off the beaten path.
It is a myth that art has to be sold. It is not like stocking a grocery store where people fill a pushcart. Art is a product that has no apparent need. The salesperson builds the need in the mind of the buyer.
People aren't buying records like they used to, so it's nice to try to figure out a way to make them do it. I would enjoy the same thing to own an old movie house, to try to trick people to come in - like having 3-D or Smell-o-Vision or Vibra-Vision or something. Mcguffins to get people interested.
Some people remaster their records six, seven times, remix it three, four times, spend a million hours, then they always go back and hear a demo of it and they'll say, 'Aw that sounds so much better than the final mix.
That's what happens nowadays with people working on computers. They can so easily fix things with their mouse and take out all the, 'Oh, somebody coughed in the background; we need to take that out' - or somebody hit a bad note. Those are all the best moments.
The auctioneer is talking for both people, and that's the big revelation about, 'Oh, that's what they're doing.' They're just doing it very fast, so you could kind of miss on that. He's speaking for you, because people in the crowd don't have a voice, so that's what really makes it compelling.
The Guinness book is a very elitist organization. There's nothing scientific about what they do. They just have an office full of people who decide what is a record and what isn't.
The way I like to start a new project is to take a cover song and make a stab at it, ideally one that has nothing to do with the people in the room.
We were like a white family from the 1920s or something. My parents had this bizarre, different way of looking at things from the people that surrounded us. I went to an all-Mexican grade school and an all-black high school, and not many people in those places liked the same stuff as me.