The Replacements are the found...
The Replacements are the foundation for a lot of what came after in alternative and college rock. Let It Be is their best record and has the most diverse collection of songs. Some pop stuff, some heavy stuff, and some real moments of beauty like 'Sixteen Blue' and 'Androgynous.' It's a record I always go back to.
It's good to have some kind of...
It's good to have some kind of California in there. It's almost always appropriate. It's appropriate on a sunny day or late at night. If you grew up on the Grateful Dead, which I certainly did, you listened to 10 million bootlegs. But you realize that American Beauty has some really tight, well-arranged songs that aren't meandering.
It's a template record for the...
It's a template record for the intersection between pop and noise, starting out with 'Sunday Morning' - a real beautiful, almost innocent sunny day song. You have a lot of different types of things on one record. It can be really pretty, or it can be really awful inside, depending on where your head's at at the moment. I got it in ninth grade and I think I've listened to it every month since then.
Springsteen on that record sta...
Springsteen on that record started writing less about having your wind in your hair and turning the radio up and more about being dragged down by adult things. Regular people trying to get ahead. A little less mythical and romantic, and more real. It's a really spectacular record for that reason.
Someone should have a record t...
Someone should have a record that doesn't have any singing. It's my favorite Miles Davis record. I love hanging out in the summer, in New York, when it's miserably hot. I love electric Miles Davis in the summer. Jack Johnson, the songwriting especially, is a premier example of that. It always makes me feel hot in the city. It's also nice to have something not yelling in your ear. For me, as a lyricist, it's nice to put on something without any words.
There's this moment sometimes,...
There's this moment sometimes, when you do a crossword puzzle and you have the one really long word. And once you get that, the whole thing kind of comes into focus. Sometimes it's just working things over in your mind and then finding that one line that kind of ties the song together, and now it works. It's a puzzle of sorts.
I think the biggest thing - an...
I think the biggest thing - and this I think is true of songs but also of movies and books and art in general - is when you have this moment where you hear a song or whatever and you say, 'Hey, I've felt that exact way as a human being,' and there's no easy way to describe it.
I use a lot of specific places...
I use a lot of specific places in my songs - traditionally, a lot from Minneapolis and St. Paul, where I grew up. Most people, especially when you get into international touring, have not been there. So you say, 'Well, isn't it risky to talk about the corner of Franklin Avenue and Lyndale?' If you do it right, someone should say, 'God, I know a corner like that.' Offering specific details to describe something universal.
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