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„Many of your prime influences were selfdestructive. If you' re too big you get selfconscious, if you' re too obscure you feel nervous. So it' s hard. The main thing is songs. You take off jour hat an' the birds fly out of your head, some homing pigeons, some crows, some never get off the ground, some never even hatch. I guess i did borrow a lot to do stuff like that. But it' s good to borrow, borrowing implies that you' re going to give back. That' s the way all music works – you take a little something from here, you bring it over there and pretty soon it finds its way back. I' m not even sure how it' s all gonna hang together yet. All these ideas are very easy to come up with, then the work begins. Well, making music is like everything else, it subscribes to the same laws of the universe. What happens is that you sorta evolve a language. I got my own shorthand. I' ll maybe line the guys up and tell 'em I need a little more Zsa Zsa Gabor, little less Karl Malden. More table and chairs, lads. That sorta thing. Think of a dwarf in a fish tank, boys. Think about 25 chickens on fire running across a barren landscape at night and you' re a fireman with a hose and you gotta douse the chickens before they turn into a burnt meal. You don' t always get there. Sometimes, you gotta a blindfold the musicians. They always give the music an added kick all their own. They might get it all wrong but something else is created along the way. The song survives if it' s got a life. That' s when you know a song' s stamina, when somebody can pick it up an renew it. I try to listen to the noise in my head and invent some junkyard orchestral deviation. I'm trynna get away from that jazzy thing. My writing process has changed. Like when it' s raning again – you have to make sure you have enough things to catch it in. I' m realisin' the possibilities in arranging, exploring. It' s good to write on instruments you don't understand.“
t.w.
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