Back then, we could drive a mile from home and there was nothing. Now it's grown in every direction and is populated and modernized. I guess I have mixed feelings about it, but I'm not someone that thinks everything should stop growing. ↗
First off, I don't want anyone to think I'm this huge thing in Japan. Every group from here that's made any records over any length of time - even indie bands - have a Cheap Trick effect in Japan. ↗
I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record. ↗
I wanted Kimi to be a Japanese record with a Japanese title. I wanted it to be for them. They appreciate things on a different level, and take their art very seriously - that's special if you're an artist. ↗
It wasn't so much that I had to leave to make it in the music business as I was curious to be out on my own and sort of explore. I never felt that where I was ever influenced my songwriting. ↗
So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio. ↗
Growing up in the business you have to grow up very fast - you do have a different type of childhood, that has its benefits and it has its drawbacks. ↗