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It became a question of do I want to be on a label where it could take three years to put out a record instead of putting out three records over the same period of time on my own.
Matthew Sweet
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I went to a rare live Van Dyke show and met him there. And then he came to a show of mine and we spoke back stage. The third time was at Brian Wilson's birthday party.
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I wanted Kimi to be a Japanese record with a Japanese title. I wanted it to be for them. They appreciate things on a different level, and take their art very seriously - that's special if you're an artist.
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I have more perspective now, and am happier now. It's not that I don't want success, but I now know I can have success at a lower level and make much more money doing it by myself. I make $6 or $7 bucks a record vs. nothing off those other records.
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I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record.
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I figured if the plane goes down, I'll go with a great genius and will always have my name connected with his.
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He wanted to play accordion on something of mine and I said you can play accordion, but I want you to play piano and organ on some stuff. He came over a couple times a week for two weeks and gave me therapy as to whether I should do The Thorns or not.
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He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.
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Girlfriend and 100 Percent Fun were my two peeks, around '92 and '96. The reality is that the times I had the most media success, sold lots of records and played bigger shows, I had the least control of my own life.
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First off, I don't want anyone to think I'm this huge thing in Japan. Every group from here that's made any records over any length of time - even indie bands - have a Cheap Trick effect in Japan.
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Creativity is much better when it's free. Someone can take it and sell it if that's what it needs, and from that standpoint, you have to have a label. If you could make your music and just give it away and somehow make a living - that would be the best scenario.
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Back then, we could drive a mile from home and there was nothing. Now it's grown in every direction and is populated and modernized. I guess I have mixed feelings about it, but I'm not someone that thinks everything should stop growing.
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