Most people don't listen to classical music at all, but to rock-and-roll or hillbilly songs or some album named Music To Listen To Music By.
We never really set out to talk about California on the album ['California'], it was something that we noticed that was happening about three-quarters of the way through the recording process. We were looking at which songs we thought would make the record and we realised that there was this theme coming through. I think it's just a product of being in California for as long as I have.
You continue to evolve with each album that goes by and, as an artist, you continue to expand with every recording project.
The realization that The Art of Obscurity is my 25th solo album prompted me to do some deep thinking about where I am, where I’m going and what I still want to achieve from this life in music. In my heart I feel vital and passionate about the creative process and that my best work is the next one I finish. It doesn’t necessarily work out that clean, but for me, it can be the only touchstone.
It is one thing to record an album but it's a huge difference when people play it and listen to it and embrace it the way that I do. It has always been my dream to get my music out to the world and have people hear it.
Once I finish one album I know where to begin again.
I wanted to make a very cohesive-sounding album. Anyone who has listened to me and brought me into their living rooms and their bedrooms - I am making this for them.
But when I started writing songs, I stopped painting completely, and the only art things I do are connected to the career, like album sleeves and, to some extent, posters and things like that.
To do the Ozzfest again would be great. I'd like to finish with a final Sabbath album. You always feel that it is still a challenge.
This album is my life, and my life's really not that interesting. It's not "not interesting," but I'm just some dude just like everyone else. But by recording it in an album format, it becomes a product. That's the idea of Built on Glass; it's the relationship between my personal life and the music I make.
It's easier to make an album, harder to figure out how to get people to notice it.
When you put an album out, you can't do any material from the album if people are paying to see you.
I knew that when it came time for me to finally make my own album, it wasnt going to be about being a jock. It had to be more personal and intimate.
I have been fortunate enough to record several singles and a whole album with Chet Atkins.
After putting out quite a few albums, there's a feeling of why make another? I was trying to make something that was an album experience.
The only way I thought I could do a greatest hits album is to do it in a prison where they have no f**king idea who I am. I'd do what I consider the best of those old, early CDs before I did DVDs. A women's prison would be even better, but it has to be English-speaking.
All the songs are pieces to the puzzle. They each represent something different. So it's really difficult to say one song represents the album.
I met Quincy [Jones], he had heard my album, someone played the album and he flipped over it.
I want to do some different kind of songs, but say I want to do riffs, but I don't come up with any riffs that I really think are great. Then I can't do a riff album. I'm more of a song, melody person.
I have a crush on Steve Tyler. He's funny, he rocks, and has a voice like a god. There is another one who I have discovered can sing. I should try and make an album with him. . . it's Barack Obama!