Even I just listen to some bands on YouTube. I'll think, "Oh, I quite like that, I should buy it someday," but I don't get around to buying half the stuff I liked.

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

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.

Ownership and control is important, because if you don't own what you do, all sorts of stupid stuff happens to it, and people spend good money on garbage.

The corporate system is fully psychopathic, and any creative people who enter into business with any of these organizations come up against a lifetime of issues. You just deal with it as you go along. It'll keep on happening until people reorganize the organizations.

I do need to loosen up a bit, and that usually does come with old age. That's the intention.

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.