I wasn't making music for the sake of music but rather making music in the context of other music. At the same time, it doesn't mean I'm not going to try and do that some day.

I don't have a role model, but I certainly have always enjoyed Neil Young. I had the great pleasure and opportunity to watch him from the side of the stage on a couple of occasions, and his on-stage sound is incredible.

We've had incredibly huge obstacles in our way - no tapes, no royalties, no cooperation on any level - and we sort it out.

When I'm listening to stuff on the computer or through a horrible little speaker on my phone, and then I hear the real version with the bass and everything, I sometimes don't like it as much. I definitely believe that any medium is viable in that respect.

The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.

You wind up listening to one song that you really like 30 times on YouTube and then you're done with it. That's the way it is.

When I was a teenager, I learned that in order to play guitar like Johnny Ramone, it takes a huge amount of physical effort.