Words matter. These are the best Matthew Sweet Quotes, and they’re great for sharing with your friends.
They said, ‘If we put you in first class with Brian, will you do it?’ So I flew after not having flown in eight years. If there’s one person who doesn’t like flying as much as me, it’s Brian.
I figured if the plane goes down, I’ll go with a great genius and will always have my name connected with his.
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.
It wasn’t so much that I had to leave to make it in the music business as I was curious to be out on my own and sort of explore. I never felt that where I was ever influenced my songwriting.
The summer of 2002 at the Wilson birthday party I met Van Dyke again and I made plans to have dinner with him.
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.
More labels should be like that. Instead of putting these records out myself, I should have just signed with them, but they probably don’t like my music (laughs).
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.
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.
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.
You know that they’re not just into it for the moment, they really care about it and value it over time.
The openness of rural Nebraska certainly influenced me. That openness, in a way, fosters the imagination. But growing up, Lincoln wasn’t a small town. It was a college town. It had record stores and was a liberal place.
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.
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.
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 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.
There are things that I value now that I didn’t when I first went over there, like Zen Buddhism, which has become part of my life over the last couple years.
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.
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.
