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Sensitive, humbug. Everybody thinks I'm sensitive. Wait until they hear my new album.
Cry Baby wasn't necessarily a baby theme but I understand what they're saying. So like, Cry Baby is definitely a remaining character throughout all of my albums.
I was writing before I met Rick and actually I created the band before Rick Finch. Basically, the first album, I wrote. Who's to say what would've happened? Rick was very talented too.
I don't really listen to Radiohead. I listened to the albums and they just didn't move me in the way, say, John Prine does. His is just extraordinarily eloquent music.
No, every album is something like a snapshot. It only shows one moment in time. It shows what we feel and think right at that point in time, nothing more and nothing less
I wouldn't think a blues album would be that commercially successful, but I don't really care. I'd do it for the love of blues, not for the money. I've got plenty of money.
Before our albums are released I feel like we still own it, that we have control over our music. But once it's out there in the world it's no longer ours.
I'm proud of the fact that I'm at a point in my career that if I want to take a little bit of a left turn and make an album that is more hushed, more acoustic and more personal, that I can do it.
If I made an album just to sell you a story about how I'm the man, it really doesn't show any human side to me. It's good to talk about what's real and what's relevant.
I want each album to say something different and be accepted better than the last one but I don't have any point to outdo any particular album of mine.
I write the music I like. If other people like it, fine, they can go buy the albums. And if they don't like it, there's always Michael Jackson for them to listen to.
I got an album coming out with Bibby (No Limitations) we gone do a joint album our first-ever joint album together officially since we started that's coming this year 2017.
I don't know why it is, but I just love soul music and all that old country stuff. I guess somehow my heart mixed them both together as I made my albums.
There's 40 or 50 songs that nobody's heard that I've done in between albums. There's a whole evolution from Midnite Vultures to Sea Change that's never been released.
I didn't know how well my first album had done; it was enough to get me to do the second album, which was a continuation of the music I'd worked on and perfected.
Most of the time I like to start an album abroad, not at home, just to avoid the pressure, to not wake up and think, OK, its the first of recording this album. I like to avoid that.
Between the record companies being the way they are and the fact that people can just download one song instead of buying a whole album, it's hard to make a good living nowadays.
The album feels like a new era for me -- emotionally, lyrically, sonically. It feels fresh, it feels new. It's still me. It's still stuff that fans know and love but it's a new chapter 100 percent.
We were nominated [for Grammy] once before for our album 1916. We were up against Metallica at the time and they had just sold a quarter of a zillion albums.
I gave the album [You're Under Arrest] to Quincy Jones and he loved "D Train". We couldn't call it "D Train"; it's called "MDI/Something's On Your Mind/MD2". That's on the album.
Producing a film is more unfamiliar territory. Although producing an album and overseeing artists is a task within itself. But film is unfamiliar territory so, here and now, that's more difficult.
I thought I'd do everything on four-track, and then I'll record every instrument myself in a studio, and then I'll have a solo album released by spring.