As time went on, we formed a number of different bands. We played in rival, neighborhood bands. We learned more songs and we learned how to play Chuck Berry music and we learned Ventures songs.

I hate that expression, 'fusion.' What it means to me is this movement where nothing ever really fused.

You get on the radio by writing your own songs. But we had the dilemma of not being able to play anywhere because we weren't able to play anything that anyone wanted to hear. So we learned songs that we thought that we could do without puking.

Drugs, sex, booze, all the stuff that we wanted to do. The problem was that we didn't want to learn the top 40 'cause most of the music was awful and we had this other idea about what we wanted to do.

When we first met, I was trying to put a band together. I asked around at school for other guys who wanted to play in a band. Someone told me about a juvenile delinquent they knew who played bongos.

We played together for so long and we got to the point where our styles blended together. Even today, sometimes I'll hear our records and I'm not really sure who played what. And we took a bunch of acid together too.

When we first started playing in the early days, none of us really had any idea about writing our own songs yet. We were struggling how to learn our instruments and play songs to be able to perform for people.

It wasn't a class system where I was the better guy and he was the second-rate guy. That was his role and my role was to play the solos. But he took great pride in his technique as a rhythm guitarist.

But when I was a teenager, the idea of spending the rest of my life in a factory was real depressing. So the idea that I could become a musician opened up some possibilities I didn't see otherwise.

Drugs, were a symptom - they weren't the cause of anything.

If you put this in the context of Detroit in '64 or '65, the economy was booming. Everybody had jobs and there was a whole nightclub culture where bands could work.

As time went on, we formed a number of different bands. We played in rival, neighborhood bands. We learned more songs and we learned how to play Chuck Berry music and we learned Ventures songs.

Aesthetically, we were enormously successful. Economically... there was no success. It was all about music of the future and unfortunately it was a band that didn't have any future.

I was a little ahead of him but that didn't matter after awhile.

When I first started playing in a band, before the Beatles, working bands played standards and they saved their rock material til the end of the night when they were really stretched out. It could be pretty lame.

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.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

My big love was the Beatles. I was more into music.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

Uhm, I'm the one wanting the lessons! I don't want to say too much about it because I'd rather have you see the movie, but he's trying to find his music.

The value of music is to be able to play one note at the right time in the right way.

Younger players in this music often turn out to be middle aged; it is not a young music.

There's an inherent thing in me where, if things are going too smooth, I'll sabotage the hell out of them, just to make the music more of a sanctuary.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

We used to listen to all the marvelous operas on records. Music was a very important part of our lives.

Drums just always sounded like the most fun part of that good music for me.

Record covers helped me discover a lot of music that I wasn't aware of.

It was very interesting for me because DNA made music without much technical knowledge at all.

So it was out of necessity that Blackheart was born. I think it's great that now, 25 years later, we're not only putting out our own music, but are able to put out music by other bands. That's really exciting for us.

Instrumental music is increasingly marginalized and there's just no outlet, there's no venue for it, in terms of media.

It's part of the calling to at least do a few songs in the show that give people some hope. There's so much hurt in this world and... music is such a great healing balm and a great way to forget your troubles.

I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.

I don't need anybody to market or promote me. If people don't want to hear this music, then it's not for them. You cannot please everybody.