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The thing I do, really, is a communication with audiences more than any achievement through records.

There are a lot of obligations when you put out a record and it does well. People want to talk to you, which is nice. So then you make sure you do that.

People are really set in their ways in how they produce records, and I was at least open enough to where I knew I wanted to do something totally different.

In order for me to get through all the red tape and just allow people to just get at my talent, I've got to set the record straight. And you can't set half the record straight; when you tell it, you've got to tell it all.

I never think about records. I focus on my race and try to get onto the podium consistently. It's hard enough to do that.

Who you are as a performer is one thing, but when you're making records, you're dealing with musicians' tastes, their goals, their wants, their needs, everyone's individual pride.

Records are just moments of achievement. They're like receipts for work done. Time goes on and people keep playing music.

It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing.

I've realised that if I aim for a successful record, I probably won't have any success. But if I keep making weird things, then hopefully the audiences will come to us.

You know, when I put out records that may not work or connect with the audience, it's because I'm pushing myself as an artist creatively, because I'm just bored doing what everyone wants me to do.