I was brought up in a car family, my dad loved cars and I was taught the art of making an Austin 7 operate.
Ever since the Beatles, the concept of lovable mop tops, it's a bit of a fantasy, but it's a lovely idea that people make wonderful music and live a wonderful life being friends together. Sadly, life isn't quite like that.
I have about 40 cars, of which 25 to 30 are what you might call serious.
There are so many ingredients that are contained in 'The Wall' that were not necessarily contained in other Pink Floyd records, particularly following on from 'Animals,' which was very spare and sparse. Production on it was much more massive, the complexity of the recording was much more intense.
Watching something being constructed, whether you're passing a building site or whether you're watching an artist at work, is fascinating, and I think that's the enjoyment.
Part of the gestation of 'The Wall' was this business of alienation from the audience, and so the interesting thing was, what 'The Wall' eventually became was something that absolutely engaged the audience.
I've always liked a very dry snare and, like everyone else, a very dry bass drum.
The reality is, like any band, you can never quite quantify who does what.
The fact of the matter is that 40 years ago, unless you bought the record, you couldn't hear the music. It was such a narrow track in comparison to today.
One tends to look back at the mistakes as the same thing - relinquishing control of something at some point in your career.
I started racing myself and once you get bitten by that bug you really are hooked.
Of course, with the people you really know, no one changes that much.
The GTO is such an important car because it's a racing car and a touring car and that's pretty unusual.
The last thing we would want is for our fans to feel that we're trying to find the 17th opportunity to sell them the same song.
When you're in the car, how well you do is down to you and you alone-no band, no management, no marketing.
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