You can listen to Jimmy Buffett’s Changes In Latitudes, Changes In Attitudes on:

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“Key West is like an old dirty carpet; you shake it out and everything falls to the bottom. Everybody from the whole East Coast wound up at the end of the road in Key West at one point or another.”

“The pavement runs out at the little village of Tambor, and we stop for cold drinks. Where the pavement ends and the dust begins is also the place where the time warp takes over. It has been only two days since we were opening Christmas presents in Palm Beach, but now we are bouncing along a dirt road in another world. When you are traveling on a trip like this in the right frame of mind, time and space will change. Things that seemed absolutely necessary two days ago slip from your mind. You find yourself looking out the window of the plane, boat, or car and daydreaming about going native. Time becomes something to be used, not saved. Many years ago, when I first experienced this feeling, I wrote a song about it called ‘Changes In Latitudes, Changes In Attitudes.’ It worked then, and it’s working now, as we drive west to the ocean in the land of pura vida.”

“As we drive to the airport the next morning [in Guadeloupe], we talk about the sentimentality we both seem to hold about the places we came from. Kino is a world traveler, but he is still attached to his roots in Guadeloupe. That kind of connection to the land is also a very Southern trait. I too move around the globe in an almost constant state of motion, but when I think of home, I think about Pascagoula and the eastern shore of Mobile Bay, not Long Island or Florida. Home is where you come from. It is not where you live at the present time, and though I doubt I will ever live in Alabama again, I will always think of it as home.”

Taylor is proud of the musical achievements of Buffett and the Coral Reefer Band, particularly the first three albums, but he feels that somewhere along the line their leader became more interested in making money and using gimmicks onstage than in making quality music.

“We had a lot of fun, but we were always negotiating for more money and of course he’s never been one to let go of that stuff,” Taylor said. “I had some issues with him over money and a retirement fund, which we never had, although he did put a little something together for us eventually.”

The concerts began to lose their appeal for Taylor.

“It had all gotten to be a rote deal. The same old crap, the same show biz stuff, dancing girls and exploding props, this that and the other. I was tired of that. He’s a big-time businessman now and I think that’s what he really enjoys the most. Music is secondary. And music has always been the most important thing to me.”

“Life is a journey that’s measured not in miles or years but in experiences, and the route your life takes is built not of roads but of songs. How far is it from Key West to Miami? To some it is 147 miles. To me, it is about eleven songs.”

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Listed in order of reference on the show.

“We actually started with a tonne of songs—about twenty-five or so—so we didn’t even know which ones would make it, or which ones were good or bad really. So you don’t really know until you’re recording them, because we weren’t really playing a lot of them live, so once they’re recorded you’re like, ‘Okay, this actually sounds like a real song, and this one sounds like a joke’—we’re just taking the piss out of some soul song or something, you know? So we kinda learned as we went, like, ‘Oh wow, is what the record sounds like’.”

“‘We have this time off before we gotta go back out on the road again—let’s just go do it ourselves. We’ll get another engineer… We think we know what the songs sound like—let’s just go for it’. And so we were like, “This is actually really fun”. That’s when we really discovered we don’t have to beat each other up on this, we can just have fun with it and enjoy the process.”

“I did stretch myself pretty much to being broke, at the same time we didn’t have to worry about anybody even coming in and hearing mixes or anything, we could really take our time with it.”

“It’s the first time the line-up hasn’t been this revolving door. With this record it’s a real band that I’m part of. No one’s going anywhere, everyone’s contributing to the songwriting process and this is our coming-out party.”

“… But that’s the best part about it—the fact that it is a mystery. People get the lyrics wrong—I do that all the time with my favorite songs. You read the lyrics five years later, or hear it differently, and you’re like, ‘Oh, I always kinda sang something to that effect when I was singing along, but I didn’t really realize what they were talking about’, you know? In a way it’s like little hints come around and the mystery kinda reveals itself, but the fact that people don’t really know is my favorite part, because that’s what I appreciate about songs as well.”

[With Regards to “Factory”] “I was listening to a lot of Nick Drake and was really enamored by the string arrangements in his songs. Also, I was trying to make it a bit dramatic sounding in a Bittersweet Symphony kinda way.”

“I was actually out writing songs for the new record, and I had some crazy stuff going on. That song just kind of ended up tapping me on the shoulder. Even though some of it is a bit maybe too autobiographical for my own tastes, a lot of it dances around subjects like all my songs do. I try not to be too specific.”

“We got to the point where we were touring so much that nowhere was really home. So I figured, at least if I’m gonna come home after these long stretches of traveling, it would nice to be around my family; my parents, and my brother and sister are having babies. So it was like, when I come home, at least I’m close enough so I get to see them at least twice a year compared to like maybe once a year.”

“This song [‘Infinite Arms’] deals a lot with the major theme of the record, and being the title track that’s maybe a little obvious, but this is one I’m not quite ready to unveil the mask on. But I can tell you that it almost didn’t make the record.”

“We went bonkers with Infinite Arms, because we could. It was a challenge to see what we could do, but we also overcooked some shit.”

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You can listen to Lord Huron’s Vide Noir on:

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“Balancer’s Eye” is one we created ourselves, making up our own myths as we go. We’re trying to keep it so all that stuff is still around in this world too. You’ll see things that appeared on other records, ideas or names cross over to [Vide Noir]. In movies and literature and comic books, I’ve always liked where there’s connectedness or crossover. We need someone to control the lore and keep tabs on it [laughs].

Inverview with Ben Schneider in Stereogum’s “A Look Inside The Insular World Of Lord Huron”, by Ian Cohen

SCHNEIDER: You know, I guess I haven’t had to yet, so I’m not sure, at least with “Strange Trails.” On “Lonesome Dreams” there was kind of a central character named George Ranger Johnson, who is this really underappreciated, prolific author.

BLOCK: Who you invented, yeah.

SCHNEIDER: Who I invented, yes. But he - yeah, I do kind of miss George. You know, he might pop back up again some time.

BLOCK: You haven’t seen the last of him yet?

SCHNEIDER: Haven’t seen the last of George Ranger Johnson, no.

Interview with Ben Schneider in NPR’s “Lord Huron Wants You To Dance At The Apocalypse”, by Melissa Block

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Chris Bear and I went to Mexico for a month. It was in Baja, this cute little cheap place. There was no one around, no cell reception. We could focus on doing stuff. We wrote ten songs and were so stoked. Then we brought it to the other two guys and they were like, “We’re not understanding what you’re going for here. This isn’t really our vibe.” We were deflated. The only song from the Mexico sessions that made it was “Yet Again.”

Ed Droste, genius.com

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“And that’s one of the things that I really enjoyed, was that first time I’d hear him hunting for a chord change and I’d think ‘Man, he’s just gone right off the edge because he’s not ever gonna get close. He’s way out there in some area that’s just–he’ll never get back. And if he’s successful, gets out of there, people are going to say, I’ve lost my tone center, don’t know where the hell I am and stuff. And then, eventually, he’d figure out what it was he wanted to do. A lot of it was just hunting and pecking, the way some of us type.”

“Tony Asher Interview”, AlbumLinerNotes.com

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Q: Was the goal going into the sessions to create the kind of record that could be that sort of huge commercial breakthrough for you?

Q: What was the appeal for you of leaving England for America? What brought you over?

“Interview: Roger Hodgson of Supertramp looks back on ‘Breakfast in America’”, azcentral

“In three days with the band, I don’t think I saw Davies and Hodgson converse once, other than to exchange courteous greetings.”

Harry Doherty in The Supertramp Book, by Martin Melhuish

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You can listen to Father John Misty’s Pure Comedy on:

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You can listen to Kamasi Washington’s The Epic on:

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“Malcolm’s Theme”—when I was younger I got caught up in gangs and I was headed down that path. I had two things that brought me out of that, I had a cousin give me an Art Blakey mixtape and I was in this program and we read Malcolm X’s autobiography. I always wanted to give that same thing back. It had such a profound effect on me that maybe I could help someone else. If I could do something that people would look back on the message he was giving during his life, with the music.

“Interview: Kamasi Washington”, Spectrum Culture

Volume I: The Plan

Volume II: The Glorious Tale

Volume III: The Historic Repetition

Volume I: The Plan

Volume II: The Glorious Tale

Volume III: The Historic Repetition

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