The more of what our music does violates the premise of its format that it's presented in, the better. So, hearing our music in the supermarket, a Muzak version, is great.
I have a feeling there were many, many successful rock duos that just didn't get attention. That's the fault of the rock press. They are always playing up controversy, scandal, aggravation, and irritation.
I always look for the weirdest note to land on. I felt that that was the least I could do for the great musical traditions which I've spawned.
We opened for the Kinks, the Beach Boys, the Guess Who, Chuck Berry, Sha Na Na. We opened for Cheech and Chong - I opened for Cheech, and Don opened for Chong.
There was a film called 'FM,' and we were asked to do the title song. And I said, 'Does it have to have any specific words?' And they said, 'No, it just has to be about FM radio.' It took a day or two to write.
From a linguistic point of view, you can't really take much objection to the notion that a show is a show is a show.
When you're collaborating with somebody, there has to be a spirit of cooperation. There are a lot of times when you just can't persuade someone to write a certain type of song, either musically or lyrically.
In the '70s, my playing was completely untutored, but it sounded good to me, and I tried to find ways to make those very simple things work in more ambitious contexts.
It was the 'Gaucho' album that finished us off. We had pursued an idea beyond the point where it was practical. That album took about two years, and we were working on it all of that time - all these endless tracking sessions involving different musicians. It took forever, and it was a very painful process.
What about that Dave Brubeck live album, with a version of 'Like Someone in Love' on it, and long sax solos by Paul Desmond? That's what got me hooked on jazz.
If any artist abuses his audience as a means to any end, noble or ignoble, he better have a damn good reason for it.