I always look for the weirdest note to land on. I felt that that was the least I could do for the great musical traditions which I've spawned.
'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.
We have been fortunate enough to do something that has always been out of the mainstream and yet have an audience for what we do.
There are some things that I write that I know are personal in a way, or the gag is so obscure that it's just for me, and there's other things that could basically be for anybody or be anything, at least until the lyrics start to get written.
I can never believe how much time and energy and money and talent and everything else is being poured into horrible ideas.
It's interesting how some songs really lend themselves to performance in a big public venue and performance by a band and so on, and so they're even more successful in that context than they were on the record.
Most of the time when people say something sounds like Steely Dan, and I listen to it, it doesn't. And I'm not even sure what they're talking about.
I learned a lot from the various artists I produced. Either you see them doing something that you do want to do it, or you see them doing something the way you don't want to do it.
Singing, for me, means singing as loud as I can.
We are constantly competing with the monsters from the id.
I think the audience for Limp Bizkit is probably not going to be particularly interested in what we're doing. I don't think they'll find much that satisfies them in what we do.
With any relationship that goes on and is productive over a long period, there have to be some sort of interlocking qualities in those personalities that make it possible to survive.
'Gaucho' was a struggle for us for a lot of reasons, and in the end, we just sort of survived it.
If any artist abuses his audience as a means to any end, noble or ignoble, he better have a damn good reason for it.
I thought Twitter was a joke. I really thought it was a gag. I thought it was like National Lampoon or the Onion.
I'm glad we turned into a big-time touring band later in life. In fact, it's almost like we planned it out that way.
In the '70s... there were rock players, and there were jazz players.
If you're playing in a room that holds 15,000 people, it's just a question of how bad the room acoustics are and in what way they're bad.
Some places you play in America, it's like 'On the Waterfront.'
Let's face it, us '60s folks had pretty high expectations.
