Q: Do you think about relevance and your place in the culture? Does it impact your work?
A: Oh yeah. It hurts. It’s really difficult. Nobody cares about half of what you’re doing but you’ve got to feel like you’re doing something. I think gigs like this tonight, they’re important, though you don’t really see how, exactly. It’s often hard to see the present. That’s the art that Bob Dylan has: the ability not to see the future but the present, for what it is. The present isn’t really what’s advertised as the present. The present is this thing that’s being born every day. It’s not in the magazines, you know. I’ve had a couple of friends die in the past few years and it’s been really profound to experience what their deaths and their lives meant to me. You remember moments differently than you experienced them at the time. You go through a little of that and you see how valuable things are. The culture is a one-way ticket to nowhere, if you ask me.
Q: You put the Plimsouls back together in the mid-90s. Why did you want to reunite the band and did you get what you wanted?
A: The band was something I put a lot a lot of energy into creating. The Plimsouls projected rock and roll in an incredibly believable way and it’s a very rare thing to have that. We did it ’cause we could, you know? And I feel like it was a valuable thing at the time. Now we’re kind of at the end of it again, after ten years of being together again, maybe more. Fifteen. It’s sort of sad. We’ve had problems, but it was good, and it kept me younger in a way, too, to remember that. You know music gets in your body. Rhythm gets in your body. Maybe it got a little cerebral and I came back to the Plimsouls to tap into this thing that gave me another burst of youth, in a way.
Q: What is it about youth, or the qualities we associate with youth, that brings so much to bear on creativity?
A: It’s unbridled, uncynical energy. A freshness of life, you know? You have it when you’re young and it goes away. When you’re young, every room you’re in is so intense. Every person you talk to and everyone you meet, it could go anywhere. Anything could happen. With the Plimsouls you’d get this burst of energy and it would seem like something magical could happen, like you could walk through walls or something, just for a little while, you know, you would feel those walls come down. You’d feel once again like you were in this place that was very fresh. It’s hard to describe, really, but that’s sort of the role of music. I think it’s what people want from music. That’s what art does. It makes you feel the impact of being alive. Music allows you to feel things that are so big you can’t feel them until you hear the music. When you’re young, emotions come through your body. You feel them. And I think people shut them off because they’re painful. Plus they’ll get you in trouble, you know? Everything changes when you get older. I’m old now, man. I’m 56. I’ve been on the road a long time. These days I wonder, you can’t help it when you go on the road, am I going to make it through this tour? After the heart thing and all this stuff, you wonder, you know? There’s a lot of different aspects of being older that are weird.
Q: Are there good aspects?
A: Some of them are great. When you turn around 40 you get a bird’s eye view of life. I understand things that I never understood when I was a kid, man. I see people and situations and I know exactly what’s going on.
Q: Does that make you a better or a deeper artist?
A: I don’t know. Only if you can figure out a way to use it. You have to get at it somehow. And that’s the whole trick about art, you know? You got to keep going to that place. You’ve got to be willing to go out on a limb. That’s the trick.
Q: How do you get to that place?
A: I don’t know. Keep going. Hit the road. Have a heart meltdown. Nearly die. Keep doing rock and roll. Have no money.