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When a record company looks at me I'm very hard to market, I don't really fit anywhere, It's hard to get me on the air, and I'm hard to demography, but! because of that I'm not subject to trends like you pointed out.
We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.
We had a day off here yesterday and I just sat in my room and played.
There are nights when you can feel stale because you've fallen into a pattern by touring too much, but it's easy to get out of it by deliberately getting in trouble and playing yourself into a corner to then see if you can get out of it.
The principle element in a performance is risk, and if you're losing interest then by scaring yourself to death the audience will feel it and boy it'll wake them up.
The first music I was exposed to was Stravinsky and I loved it but I don't remember it.
The bulk of my set is instrumental and you have to give yourself and the audience some relief because a performance is not about great guitar playing it's really about entertainment.
That was when I found out that you could talk to them and it was a whole other way to blow your stack, and it's so much fun to perform that you want to do it again and the more you get out of it the better.
It's true that the more you put in the more you get out and that has to be there I think, If you aren't really hooked on your instrument this job would be a hell on earth but if you are, it's the best.
It was almost two years after I left Capital that I put out the first one on Chrysalis and that was really instructive because it was no better in particular than any other record I'd done.
It was a kind of paralysis you would get from tendonitis and I would last about five to ten minutes into the set and it would set in and I really couldn't play.
It is not a mystical thing, however, it is obvious and practical and I think that what the performer does is to try to get to that point with every choice you make from the phrasing in a tune to the choice of tunes.
It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.
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