With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood. ↗
But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices. ↗
I wanted to get my recording and become a musician again, work; with other people, do that kind of thing because I kind of got away from that for a while once we started happening, you know, selling records, sold out concerts. ↗
I have considered rap music stars, and there is one in my new book, Lovers and Players, and there is also a hip-hop music mogul who I think you will like a lot. ↗
I think I was first awakened to musical exploration by Dizzy Gillespie and Bird. It was through their work that I began to learn about musical structures and the more theoretical aspects of music. ↗
There were bars that began to have acoustic musicians play, it was 1970: Joni Mitchell, Jackson Browne, America, The Eagles, all that kind of stuff was popular. It was very easy for me to just kind of move in and be noticed. ↗
Actually, I would love to make a music video. Maybe it would finally put to rest those persistent rumours that have followed me throughout my career - particularly when I was on camera performing - that I had died. ↗
My access to music when I was growing up was through pirate radio, you know, transistor radio under the pillow, listening to one more and then 'just one more' until your favourite track comes on. ↗