This is just the way it goes: there's always a cycle with music - it goes up and it goes down, it goes risque and it goes back, it goes loud then it goes soft, then it goes rock and it goes pop.
I'd like to say I'm R&B's savior. Whether that's the truth or not, I'm definitely going out there with my mic and my shield to declare, 'I am here to save R&B.' I will have the people saying, 'Sir, there is a man at the musical gates saying he is here to save R&B.'
The film industry is a cyclical business. Even musicals are coming back.
I think if you were to really peek under the hood of what got Aerosmith back again for our second life in the Eighties, you'll find out that it's exactly this, it's the willingness to take a risk.
I made my Broadway debut in the revival of Hair and followed it up with the bus and truck tour of Grease.
We are not revived because we sing; we sing because we are revived.
To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.
The message from 'Analog Man' is that I'm back, and it won't be 20 years until the next album.
I love when people cover songs that are familiar but have been kind of forgotten about.
I'd been acting in Chicago since I came back after University, and I got a call from my agent saying, 'They're doing this revival of 'On a Clear Day,' and I actually auditioned when the team came through Chicago for the 'American Idiot' tour.
I'd got married and wanted to have kids, so had kids, brought them up, did other things, and slowly got back into music. And it feels great, having one foot in the present, writing and covering interesting songs, and having one foot in the past.
The coolest thing about doing live shows is I'm able to give the songs a new life. So even thought they're old, I'm able to do them in a way that's modern.
It's heartening to return to live music, heartening for people like me in a band. It's a very traditional thing to return to. It re-validates the original form that we fell in love with.
While some artists hunt for more groundbreaking ideas, A Hawk and a Hacksaw finds novelty in tradition, proving that what's new depends only on who's listening.
Kids talk to me and say they want to do musicals again because they've studied the tapes of the old films. We didn't have that. We thought once we had made it, even on film, it was gone except for the archives.
On the musical side, I always wanted to kind of carry on Pink Floyd's sound. You know, Pink Floyd always had such an original, creative and masterful sound, but there are no new albums. My thought was that there's a way to keep their sound alive.
In the Depression, big musicals made a comeback.
The musical era depicted in 'Round and Round' may not be pop's brightest moment, but rather than abandon its ideas, Ariel Pink reclaims them for himself and holds on tight.
I'd love to do 'Gentlemen Prefer Blondes' again - especially on Broadway.
I can't think of anyone who's reformed for art's sake. That's why the Roses will never reform.
I feel that the music that I do is somewhat of a lost art and it's not as popular as dance or pop music and people are not as interested in it. But it's something that I believe in and I feel that it's needed, so that's why I do it and I will keep doing it until everybody hears it and gets it.
Bands always call me when they are in need of a boost and I come in and put them back on top.
I think there are some songs that stand the test of time better than others for sure. I think some songs go out of favour; I'll get sick of a song for a while, and I won't play it; then it'll make a comeback.
I hope somebody does this to all my crap demos when I'm dead, making them into hit songs.
It was mind-blowing. It was a small place with 2,000 standing-up tickets. It's great to have your band back and working and playing again, people have been so generous.
