A Quote by Ezra Furman
I always felt like I had a punk album waiting to be made.
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On the first album, we were trying to do a pop-punk album with a classical influence. We'd say 'pop-punk,' and people would say, 'No, you're like burlesque-cabaret-punk,' or, 'It's baroque-pop,' and we were like, 'That sounds way cooler.'
I had no album title, and the album is like a journey in that it's a complete body of work. It's not just a couple of catchy songs and filler, so I felt that I needed to capture the essence of the album.
My grandmother had a Ph.D in library science, so I grew up in a library, and I would appreciate those books and the smell of them and how they'd have these series, and it was cool to me. I always felt like, if I had an opportunity, I'd create an album that felt like a series.
I always wanted to make a song like 'Why' even before my second album. It was just something I always had in my mind. But when I got the beat from Havoc, it was like the perfect beat, I felt... I wanted to get some questions I thought everybody... felt like 'why?' to.
When I was a kid, I was obsessed with heavy metal, Van Halen, Motley Crue. The older I got, my tastes widened. I always felt an attraction to the attitudes of punk; also punk filmmakers, like Richard Kern.
CM has always stood for one thing: Chicago Made. Chick Magnet? That's preposterous. Girls don't like me. I was born and raised in Chicago. The city made me. Punk is just because I've always been a smart-mouthed, wise-ass punk. I still am. I was the guy, if a bunch of football players were messing with one of my friends, I'd walk over there and spit in their face.
I am very grateful to punk because I was a girl, and I felt like if I got in a band, I'd be kind of a novelty act, but punk was all about non-discrimination. No one cared because it was punk, so, you know, anyone could do anything they wanted.
I made the big turnaround in the early Nineties when I started hearing all the tenth generation punk bands like Green Day and Offspring and all those people. It just made me fall in love with punk again and remember my roots, and since that time I've always wanted to do more of that kind of music again.
I focused on the saxophone ever since high school. It wasn't until my album 'Poetica,' which I recorded in 2006, that I went back to the clarinet. It felt like it was waiting for me!
I've always felt like I was observing everything, like I'm just looking out of the window, peeping how everybody is living and just penning about it, so I made the album about that concept.
Our first album sold a million copies. Because we had such a big hit on the first album, it's always like, 'You can't top the first album.'
The Blue album, there’s hardly a dishonest note in the vocals. At that period of my life, I had no personal defenses. I felt like a cellophane wrapper on a pack of cigarettes. I felt like I had absolutely no secrets from the world and I couldn’t pretend in my life to be strong. Or to be happy. But the advantage of it in the music was that there were no defenses there, either.
With this new album, I prepared for it a long time, and I was happy with the songs and the production. I felt that I proved myself with the first album, and with this new album, I just want to share some of my music. And that was always my feeling and my intention.
Predating the Internet and predating videos, you had an active imagination. You would hear sounds and then get mental pictures of what these sounds felt like to you. It engaged you and made you more invested in it. It made you want to get tickets to the show, buy the album, put the poster on the wall. Now it's sensory overload.
In the 1970s, we had Carl Sagan, and he was so suave with his turtleneck and his tweed jacket. And he was, you know, he made science look cool. And in punk rock, we haven't had that. We haven't had the Carl Sagan of punk.
I always felt if we were going in to do an album, there should already be a lot of structure already made up so we could get on with that and see what else happened.
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