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"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."
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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."
"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."
"My family lives there, so I come back sometimes between shows for a couple days. I get back a couple times a year. When I was 30 to 34 I was weirded out when I came back - you know, how your past gets away from you. It's grown so much."
"So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio."
"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."
"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."
"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."
"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."
"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."
"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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