I don't know why, it's the same reason why you like some music and you don't like others. There's something about it that you like. Ultimately I don't find it's in my best interests to try and analyze it, since it's fundamentally emotional.

And there's a lot of that stuff with people bringing their kids, kids bringing their parents, people bringing their grandparents - I mean, it's gotten to be really stretched out now. It was never my intention to say, this is the demographics of our audience.

I'm shopping around for something to do that no one will like.

If we had any nerve at all, if we had any real balls as a society, or whatever you need, whatever quality you need, real character, we would make an effort to really address the wrongs in this society, righteously.

I don't think that Slaughterhouse-Five was successful movie material. In fact, Vonnegut's books mostly I don't feel are movie material.

I don't know why, it's the same reason why you like some music and you don't like others. There's something about it that you like. Ultimately I don't find it's in my best interests to try and analyze it, since it's fundamentally emotional.

So we are pretty convinced we don't want to play huge stadiums unless we can play them well.

Stuff that's hidden and murky and ambiguous is scary because you don't know what it does.

We're not uncomfortable with it, and we've already been through enough of the music business where I'm not really worried that commercial success is going to in some way - we're already past saving, you know what I mean? It's too late for us.

The alternate media are becoming important and viable alternatives to playing live. Records, videos, that kind of thing. They're going to start to count for something. Because there's only a limited amount of us-time available to us.

I mean, just because you're a musician doesn't mean all your ideas are about music. So every once in a while I get an idea about plumbing, I get an idea about city government, and they come the way they come.

But audio is a component of video, so there's always been that anyway, and although we've never expressed a visual side apart from the Grateful Dead movie, I don't find it that remote, you know what I mean? It's a departure of sorts, but it's like a first cousin.

Constantly choosing the lesser of two evils is still choosing evil.

And Warner Bros. seems to be pretty much into re-releasing all of their catalog. So there's the Warner Bros. stuff and the stuff that we have control over, we're gradually re-releasing it. Some stuff we don't have control over.

For me, the lame part of the Sixties was the political part, the social part. The real part was the spiritual part.

America is still mostly xenophobic and racist. That's the nature of America, I think.

And for me there's still more material than 20 lifetimes that I can use up.

I'm not trying to clock scores in this lifetime, it's just that things are better now than they were like five, ten years ago. Music has gotten a lot better. There's a lot of people who are committed to - soulfully.

What we do is as American as lynch mobs. America has always been a complex place.

I have all the patience in the world about Sirens. For me it's not a Grateful Dead project, it's a Me project.

Yeah, I think we have to. If we want our shows to be - if we want the quality of the shows to be good, and we want the energy to be high, and if we want to be in good enough physical shape to do them, and not exhaust ourselves on the road, and not get stale, we have to pace.

And the live show is still our main thing.

I mean, whatever kills you kills you, and your death is authentic no matter how you die.

So it's one of those things where we have to - our problem is pacing ourselves and still reaching a large enough number of our audience. Because we don't want to burn the audience. And we don't want to be excluding anybody.

I read somewhere that 77 per cent of all the mentally ill live in poverty. Actually, I'm more intrigued by the 23 per cent who are apparently doing quite well for themselves.

The real problems are cultural. The problems of the people who take drugs as a cultural trap - I think there's a real problem there, the crack stuff, the hopelessness of the junkie. The urban angst.

I think it's too bad that everybody's decided to turn on drugs, I don't think drugs are the problem. Crime is the problem. Cops are the problem. Money's the problem. But drugs are just drugs.

Our strong suit is what we do, and our audience.

But hey, when you live in Watts, you need a little smack to get by, you know what I mean? You need something soft and comfortable in your life, 'cause you're not going to get it from what's around you. And society isn't going to give it to you.

Hunter can write a melody and stuff like that, but his forte is lyrics. He can write a serviceable melody to hang his lyrics on, and sometimes he comes up with something really nice.

Death comes at you no matter what you do in this life, and to equate drugs with death is a facile comparison.

And as far as I'm concerned, it's like I say, drugs are not the problem. Other stuff is the problem.

I don't wake up in the morning and say, 'Jeez, I feel great today. I think I'll write a song.' I mean, anything is more interesting to me than writing a song. It's like, 'I think I'd like to write a song... No, I guess I better go feed the cat first.' You know what I mean? It's like pulling teeth. I don't enjoy it a bit.

I have one custom guitar which I play almost exclusively. I have others - sometimes you want a little texture, kind of a different sound or something.

I listen to anything anyone gives me. I always go back to a few basic favorites. I can always listen to Django Reinhardt and hear something I haven't heard before. I like to listen to Art Tatum and Coltrane and Charlie Parker. Those are guys who never seem to run out of ideas.

My guitar is a mutation between a classic Fender Stratocaster guitar, which I played for years, and a Gibson solid-body like an SG or a Les Paul. It contains all sounds of the basic classic rock n' roll guitars. It does what I want it to do.

The process of selecting the tone on the guitar is an aesthetic process like any other, so you try a lot of different things.

It's odd that there is a high level of appreciation of nature. There is the aesthetic side that really loves nature and beauty.

You do not merely want to be considered just the best of the best. You want to be considered the only ones who do what you do.

If something doesn't work, it becomes obvious immediately. This just isn't going to work.

You can't repeat things because each time is different. The universe has changed. Everything has changed.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.