Poets, we know, are terribly sensitive people, and in my observation one of the things they are most sensitive about is money.
I just want to make music on the drums.
If it's something that I just can't get anywhere with, even if I think this could be a hit, I just drop it and it doesn't get developed.
There are things I've kept over the years and then someday I might pull up a program of some tune that I've done and I go "Wow, I know what to do with this now".
I married my Japanese wife Mayumi who I'm so happy with, she's been so supportive. I live part time in Japan at her house, so I've been always very influenced by Japan. Since I guess the 70's or so. I've come to appreciate so much of their culture.
I try to put what's evocative in the music to me, I try and put that out there in terms of titles and imagery, or implication towards the listener.
In the liner notes, music is fine by itself. It doesn't need any explanation.
How generous the universe could be, when he wanted to be!
They arose in my mind as 'given' things, and as they came, separately, so too the links grew. An absorbing, though continually interrupted labour (especially, even apart from the necessities of life, since the mind would wing to the other pole and spread itself on the linguistics): yet always I had the sense of recording what was already 'there', somewhere: not of 'inventing'.
If you ever feel lonely and feel that no one loves you and cares for you - remember me.
If I didn't think and feel the way I think and feel, I couldn't sing the way I sing. And I like singing the way I sing.