By the early '70s I had gotten reasonable and I started to get in hundreds of groups that rehearsed and never played at all. I mean, the most important thing was to look good and have a great name. ↗
If it's a good LP, you'll get that tingle that makes you put it on again no matter what your initial reaction was. On the other hand, if you don't get that tingle, you'd better take it straight down to the record exchange. ↗
It was in San Diego and I was onstage and couldn't remember how to play the guitar properly. I was in terrible pain and my nervous system was just going wild, like somebody had just run a car over me. ↗
It's very schizophrenic because I like a lot of very straight pop, like Small Faces, Stones, Kinks; and on the other hand, I like a lot of avant garde things. ↗
The early gigs were pretty panicky - and great, sweaty fun. We were brand new to most people, and they were willing to take anything brand new, for the first time in years. ↗
We do this for the art, not the adulation. I'd rather our music get liked and we get ignored. I don't want to be adored for anything other than the music. ↗
Where I've arrived now is the product of mixing the very straight with the very exploratory; there's a fine line between the two, although it tends to be getting straighter and straighter because my songwriting is getting better. ↗
