There's a sound with Motley Crue, and it comes with Vince's voice, which is such an important part of the show, and Mick's guitar. And the way Tommy and me play together is an important part of it.
We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit.
The other day I went to a movie with some friends, and they were like, 'Let's look it up on the Internet and see what people are saying,' and I was like, 'Man, that's messed up.'
How lucky can one guy get? I was a runaway, and then I was in one of the biggest bands in the world. I've sold out every arena. I've sold millions and millions of records.
The book is really, really dark, to the point where some people that I've talked to have said that it could be a series. And I'm like, Where? VH1? It's a little hard for VH1.
I would say old school cats like Redman and Wu-tang. My style is my style, those are just cats that I liked.
Pantera revolutionized the sound and the approach to heavy metal. It's been regurgitated. Once you up the production on a product and not just the playing but the actual production, then it's going to up the ante.
With this LP we were all very clear on the approach we wanted to take, which was to do something heavy, but also experiment with a lot of other things we really like.
A lot of people relate me to the blues but I don't think it's a hindrance at this point. I've been doing it long enough that I can do different things and be accepted.
But looking back, the fact was that I had a couple of big hits too quickly and it was simply too much for an introvert like me to handle.
When 'Destroyer' was first released, we got a strong backlash from our hardcore fans. After six months, the album was dead in the water. The critics didn't think much of it, either.
I grew up as a Catholic, and there was so much that was beautiful there, and also so much that was troubling. The whole patriarchal thing, the whole male-dominated approach, really bothered me.
Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.
Some people don't care if they live or they die. Some people want to know what it feels like to fly. They gather their courage and they give it a try And fall under the wheels of time going by.
When we toured... I was hungry to take out people like Jeff Beck in front of us; Fleetwood Mac, just before they hit; Heart, just before they hit.
Especially in the realm of bringing an opportunity to do something creative to people, as I said, who wouldn't ordinarily have that opportunity. I think that's very important.
And there was a movement afoot to take another year off, and if we had been able to do that, and rethink everything, I think when we came back it would have been very different.
In St. Louis, some people were hurt seriously when some fans got on top of a roof that was where other fans were underneath it, at a park somewhere, and it collapsed.
I didn't have bands that I was playing with growing up, so I learned to try to adapt and play these songs that were guitar songs on the piano, and sing them.
If I wasn't bound to Brooklyn, due to my own personal reasons like taking care of my mother and the fact that this is where the band is based, I would probably move to Iceland.
It seems to be that southern Europeans are just more intimate socially, whereas I like a lot of personal space - like, a mile from the nearest person is fine for me.
