The world is going to end for each of us in a prescribed time, and you sort of understand that your time is limited at a certain point, and you want to get done the things you want to get done. You don't want to leave things undone, because you only have a limited amount of time.
I'm just old enough to be able to say I got those very first Beatles records right as they were hitting America. My father brought them home. It was definitely the earliest musical influence on my life, and still one of the greatest.
My solo shows require a sit-down, indoor space.
'Daydream' brought us to the top of the heap of the indie-college market and recognition by all of our peers; 'Daydream' kind of capped off everything we set out to do when we started as a band, in terms of, like, wow, wouldn't it be great to make a record that a lot of people liked and listened to?
People assumed we called the record 'Murray Street' because of its proximity to the World Trade Centre, but that wasn't it at all. Before the attacks, I had simply been walking around taking pictures of things, and I had this photograph of the street sign. We felt it was somewhat evocative and decided to use it on the back cover of the album.
I felt like the last thing we did, 'The Eternal,' and the touring we did behind it was some of the strongest stuff we'd ever done, and the band was very much a vital entity.
Usually my records are made trying to capture the essence of a band playing in a room.
Obviously, for Geffen, if it wasn't for us, it's quite possible that bands like Nirvana or Beck would not be on the label.
I didn't intend to make one solo record, much less two. It's really a matter of seeing how it goes.
It's easier to write about a celebrity, a personality, than it is to dig in and write about the music.
Signing to a major label was an experiment for us. It was a challenge: working in a big studio with a producer was a challenge in a lot of ways. It all shaped what the band went on to become through the '90s. After we made 'Goo,' we went out and toured with Neil Young in ice hockey arenas for three months, and that was the same kind of thing.
I read a lot of science fiction, and it's ingrained, in a certain way, and I've been very involved with Kerouac and the Beats, but before that, it was a lot of science fiction.
When you listen to early Leonard Cohen records or Joni Mitchell records, you feel like a window is being opened into someone's life.
We're a rock band. We're proud of it. We're not an art band, a noise band, or an extreme band.
Like everybody else, I love a good pop song. You know, there's nothing like it. I also just really like music that goes off on extended forays of extrapolation into different areas. So it's kind of nice to be able to move between those two poles.
In Sonic Youth, at the end of 'Expressway to Yr. Skull,' we'd tap on the backs of our guitars to get this low-level feedback, and if I leaned forward, and the guitar hung off my body, it would resonate differently.
Sometimes, for me, lyrics are derived from poems that I'm working on, and they kind of cross back and forth between the two.
When we first started, in the early Eighties, we had some crappy guitars - Japanese knockoffs that wouldn't hold standard tuning. Later, we'd shove drumsticks or screwdrivers under strings to scheme new noises, sure. But initially, open tuning was a technique used to make our cheap guitars sound better. It wasn't academic or conceptual.
I'm married to a Canadianm so I have a lot of fond thoughts about Canada. I think about the prairies of Manitoba, where my wife is from, and I have a lot of friends and relatives on both coasts and have spent a lot time in Canada from Nova Scotia to B.C. In some ways, it's a much more sane country than the U.S.
I saw the Dead in '73 at Nassau Coliseum, and that same year, I saw them at the crazy, big Watkins Glen festival. It was just outrageous. It was amazing to see the reciprocity between them and their audience.
