A Quote by Butch Trucks
Something happens when the music starts, and all that tiredness just goes away. When it's going like that, I'll take on any 20-year-old hot-shot drummer who wants to try me.
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As the population is, in general, aging, there is more interest in what a 50-year-old, a 60-year-old, a 70-year-old, an 80-year-old is like. And one of the things that just naturally started to happen as I got older - and I could feel younger people looking up to me in a certain way and wanting to know things that I knew - I got interested in the women, in particular, who were 20 years older than me. Because I understand in a way that I didn't 20, 30 years ago, how much they know.
I don't take myself that seriously when it comes down to that stuff. My drummer is my favorite drummer in the world, and he also happens to be the funniest person you'll meet. He's a constant reminder every time stuff gets a little too heavy, maybe I have a bad show or I'll hit a horrible note on some recorded TV thing or something, and he's like, "Man don't take yourself so seriously - this is a joke, we're playing music." And that's a great thing to keep me grounded at all times. We're not saving lives, but the power does help us.
Everyone wants something that'll appeal to, like, 13-year-olds to 18-year-olds. Especially working in television and trying to pitch shows, they're like, 'We definitely want something that a 14-year-old will be, like, super-psyched about.' And I'm like, 'I don't know if my reality is appealing to a 14-year-old.'
You know what makes me feel old? When I see girls who are 20-something, or the new crop of actresses, and I think, Aren't we kind of the same age? You lose perspective. Or being offered the part of a woman with a 17-year-old child. It's like, "I'm not old enough to have a 17-year-old!" And then you realize, well, yeah, you are.
When something is so hot, I don't want to just jump on it right away. I want to take it home and make sure I give it my best shot.
We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
I was 21, and I was like, "Man, am I really gonna start over and try this whole thing over again? Do I want to start over and be in a rock band again and try to act like a 17-year-old for as long as I can?" Because that was what I was doing with Simon Dawes band. I decided that if I was going to go on playing music, I was going to try and work on it. So I got into Leonard Cohen and Will Oldham, guys that really inspired me not only as songwriters but also through their music as people, and that's kind of what the shift was for me.
There will be all these fifty-year-old women wearing hot pants and squeezing themselves into pretzel shapes and then there will be me. Just reaching for my toes like they're China. 'Hello there! You're so far away, I can't get to you! Can you even hear me?
Essentially, the [New York] Philharmonic is just like any other orchestra-they all have the spirit of kids, and if you scratch away a little of the fatigue and cynicism, out comes a 17-year-old music student again, full of wonder, exuberance and a tremendous love of music.
I first went on the road with the Rolling Stones in the year of our Lord, 1969. But my grandfather gave me away to a drummer when I was 15 years old.
It distresses me when I take my seven-year-old nephew out. I cook healthy food, and he wants to go to McDonald's. He doesn't even like the food; he just wants the toys, the Happy Meals. I can't stand to see people walking down the street eating fast food.
That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do?
At the finish line of the 1967 Boston Marathon, one crabby journalist said it was just a one-off deal and women weren't going to run. Only a 20-year-old who had just run a marathon and was shot full of endorphin would say this but I said that there's going to come a day in our lives when women's running is as popular and as men's.
Are we going to take the hands of the federal government completely off any effort to adjust the growing of national crops, and go right straight back to the old principle that every farmer is a lord of his own farm and can do anything he wants, raise anything, any old time, in any quantity, and sell any time he wants?
If I went back to my 20-year-old self, what I would tell my 20-year-old self is, 'You don't know anything.' Because everyone, when they're young, they think they know what's going on in the world, and you don't.
When I signed that major-label contract when I was 20 years old. I did it because I wanted to play music for the rest of my life. That's every 20-year-old's dream - to do whatever the hell you want.
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