Trey Spruance didn't want to tour for ages. And Dean Menta has always been our guitar-roadie during Angel Dust, and I remember him playing fantastically during soundchecks. During each gig, he was watching from the side of the stage, seeing Big Jim play stuff that he could play better.

I lived in Italy for a number of years and I was really digging around trying to get my hands dirty, trying to learn about Italian music. And what I ended up gravitating towards was this stuff from the '50s and '60s and maybe early '70s, where there were these incredibly talented pop singers that weren't using pop bands.

Revenge is good. I think revenge is healthy too, and if you can use music in that way, a sort of therapeutic way for yourself, it can't do any harm. So if King (For A Day... Fool For A Lifetime) is angry in any way, it's angry in a random, chaotic, healthy way. Like the guy who goes into a building, shoots a bunch of holes in the wall and then leaves. He didn't kill anybody.

That's one of the great things about touring. It makes you machinelike in a way that you can re-create this music not only in the right way but even better than when it was conceived.

Any idiot, any stockbroker can get out there and live out a fantasy and pretend like he's playing music. And I don't think there's anything wrong with that.

I got one entire song from fortune cookies (Land of Sunshine). On another one, I took words from different Frank Sinatra songs and pasted them together. Another one, I was just driving around and there was a piece of paper on the ground, so I stole it.

I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that.