I think the rhythm is like the spine of the piece. If you change that, then the body that forms around it is changed as well.
You ask for your audience's investment in your music; you're in a relationship with them. And their relationship with the E Street Band is separate from whatever else I might do. I like the idea of us being something that people rely on.
I always say my role in Metallica is to support the song and to support my team, and whatever that means, I'm there for it.
I think my music speaks for itself - it backs me up.
I know that I'm with the best people I can be, and my arsenal of sounds and songs and tracks is as good as it could possibly be. Don't be in a band unless you feel that.
Growing up, for me, it was in a musical family, so my mum and her brothers and sisters always sang. Every time I tried to join their group when I was little, they were like, 'Ah, darling, you're not too good - just sit back and watch us.'
I've never acted with my father, but we have always connected through music. He has been a great influence musically. He has always been encouraging about my music and is always happy when I sing.
There's definitely a solitary aspect to not having a band, and there are times when I wish that I did.
Obviously everybody knows that I'm an original songwriter and I got my band. And the guys in 'Sugar Money,' no matter what, are part of my family and they always got something to do with me, and I don't care if they just hang out with me.
I'm fortunate I have this coterie of musicians around me to help take music to next level. Being surrounded by so much creative energy, so many creative people really feeds that creativity in me.
Being the drummer of Fall Out Boy, and any other project I've ever done, is most importantly about playing for the music. Staying out of the way when it's needed and playing more when it makes sense.
You know as I started as a shy young conductor, I always wanted to cooperate. To build up the musicians. To help them to be better than without a conductor. And sometimes young talented musicians have to be encouraged.
Like family, we are tied to each other. This is what all good musicians understand.
Well, my musicians are my friends.
In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
I think that there's a lot of good will that exists between musicians and the people that support them and listen to them.
The drummer is the backbone of the band and is the real underrated one.
Paris has always shown a lot of love towards my music, and I am very grateful.
I really, really love new work, and that's why, you know, I produced a concert series supporting new musicals and stuff like that. I hope to do more things like that.
There was an opinion expressed in the newspapers that, after 20 years, maybe the Israel Philharmonic should consider asking me to leave. I thought they might have a point, so I asked my orchestra. They told me overwhelmingly that they wanted me to stay.
It's almost charity work, what people have done, turning other people on to my music.
What I've always lacked is a really strong band to back me up.
If you're in a band for long enough, you see your bandmates at their best and their worst, and if you can stick together through that, you're basically family to each other.
Everything that comes out of Canada musically, I support. I support Toronto 100% because I'm on the side of the music.
I've been so used to being supported by musicians, and I don't class myself as a particularly adept musician on instruments. I think I'm a songwriter.
