There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.
There's more things that I'd like to do. You know, each song is a little bit of a puzzle. I see most of them as just failed attempts.
Sea Change was so specific. From the beginning it was set what it was going to be. All the other ideas that I had at the time I had to put to the side.
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'm really fascinated by lingos and colloquialisms that are outmoded and have gone by the wayside. I love the way people spoke in the '30s, and the amazing slang of the mid-'60s and '70s.
What Spotify pays me is not even enough to pay the musicians playing with me or the people working on the discs. It's not working. Something is going to have to give.
In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool. On paper, though, it's all stripped back. The musical idea is the one that wins.
I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.
I have heard some stuff that might be influenced by my records, but it's usually pretty wacky and off-the-wall, which is kind of annoying, to be frank.
I'm just taking one step at a time. I could zigzag one way, but it's not usually on purpose.
