All these different groups of people that are put right in the path of billions of dollars of American tax payers' money. If I had enough time I could have named all of those people [in the song], too! The song would have been 400 minutes long.
What happens is, especially when I was writing for my band, Creedence, and it's the way I write now, I go into "guitar lick" mode. When I do, it sort of leads into a real song. I'd say to myself, your songwriting is coming up with a guitar lick, and the rest is easy!
I feel happy about the songs I've written. I'm a great lover of the craft of songwriting, and I sure admire it in other people when I see it - past and present. I feel comfortable with what I have accomplished. I feel happy to be able to work in that environment, and that I have a lot of songs left to be written, somewhere.
That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.
I think at times the very strong feelings I have about my country coincide with my musical ability, and I'm able to actually turn it into music, a song or even hopefully a memorable song, sometimes. You may find it surprising, but I'm a very intense, proud American. I love being an American.
People love fact-based songs, which is a very funny idea.
So we've done science songs. We've done historical songs. A lot of people would like us to do more historical songs. Our history record would probably be like the people's history of the United States, set to music.
Having my daughter in the backseat with her best friend, singing "Let It Go," the Frozen song, at the top of her lungs, and just watching her sing when she thinks no one is watching. That, to me, is pure love.
So I learnt a few country western songs, I bought a chord book, and right away I started writing my own stuff, which nobody else did that, I don't know why.
At the start of 2005 the idea of downloading a song to a mobile phone was an idea, by the end of the year it was a reality.
I went to see 'Listen to My Heart: The Songs of David Friedman.' I have been a fan of his music for years, and I was invited to opening night because I know one of the producers.
In fact, many musicians are the happiest when the artist and audience re-interpret or re-imagine the content of the songs.
There's something wonderfully exciting about the quiet sing song of an aeroplane overhead with all the guns in creation lighting out at it, and searchlights feeling their way across the sky like antennae, and the earth shaking snort of the bombs and the whimper of shrapnel pieces when they come down to patter on the roof.
A good song is a good song, and good musicians can play all different styles.
If my songs are being listened to between any other songs, that is awesome, and I'm glad people are getting something out of them.
If my songs are being listened to between any other songs, that is awesome, and I'm glad people are getting something out of them. We go to countries like Germany, where I can't imagine that all of my fans are engaging with the lyrics first and foremost. I think they're catching a vibe, a feeling. I consider myself a lyricist first and foremost, but if you get something else out of what I do, that's fine too. I'm not sitting back and telling people how they have to take my stuff. We just want to play music, and hope that people like it.
People want you to play the songs they know. I try not to reflect too much, and I don't really like to focus too much on myself.
People don't tend to notice, but in the past 10 years especially there's been a lot of growth in how I write songs and what goes into them. You can listen to Mountain Goats from 1991 to 2007 and never hear a seventh chord. In 2007 or 2008, I started working on the piano to grow as a songwriter. I started throwing major sevens in and sixes and more interesting stuff.
As important as politics are to me, the life and the spirit of people's emotions are much more important. People live real lives where they love and grieve and feel pain and joy and that is a whole separate sphere. All that political stuff, I believe in it strongly, but not as strongly as I believe that at some point you or someone is going to need a song to sit with and comfort them in a hard time.
People try to keep their past, like kind of holding on to their past. Every Springsteen song talks about that.
When somebody brings me a record to mix, usually they feel like they can only get it so far with who they were working with or with themselves, and they just want somebody with fresh ears to take it to the next level. I just try to have a candid, open conversation with them about each song before we start working on it.
I'm better at producing than I am at being a songwriter, but it doesn't change the fact that I still have a desire to play and write songs. I've never wanted to be a career musician. But I still love to play and write. It's a big part of who I am.
I think I can pinpoint the moment when my first band recorded, when I was 14 and 15 years old. I always enjoyed writing songs and playing, but there was something about going in and capturing it that felt very Zen and perfect for me. A light switch went on and I just realized that's where my musical capacity was the most suited. I just followed on blind faith that that was like a calling for me.
I think I'm better at producing than I am at being a songwriter, but it doesn't change the fact that I still have a desire to play and write songs. I've never wanted to be a career musician. But I still love to play and write. It's a big part of who I am. Songwriting is not particularly easy for me. I think it would be easy for me if I didn't have such high restrictions and feelings about what I want my music to be. I'm not precious at all when it comes to producing music and I can bring that to an artist and let them expand their horizons.
Roger Waters isn't a "great" singer but he's always able to communicate this intense desperation. At times he's not even singing, but shouting. There's no melody and his shouting isn't even in key with the song.