Craig Finn quotes:

There are nights when I think that Sal Paradise was right / Boys and Girls in America / Have such a sad time together.

I can still sing most Eagles songs, even though I never bought a record and never liked the band.

The Replacements are the foundation for a lot of what came after in alternative and college rock. Let It Be is their best record and has the most diverse collection of songs. Some pop stuff, some heavy stuff, and some real moments of beauty like 'Sixteen Blue' and 'Androgynous.' It's a record I always go back to.

When people hit on feeling a certain melancholy or elation, it's a really exciting moment. I think making that connection is the goal, and what makes something great.

If I'm stuck, I'll sit down and read. That's a big thing.

There's a lot of ways to be honest that don't necessarily involve absolute facts being true. I think that's something I absolutely try to do.

When you get into rock 'n' roll myths, like that Rod Stewart blew his whole band and had to get his stomach pumped, it's ridiculous, but everyone's heard it.

I really want to write a novel. A few years ago I went so far as to do the cliché thing and rent this house in upstate [New York]. I still have the story, but I got 15,000, 20,000 words in and it was like, This is falling apart. I can't figure out.

It's good to have some kind of California in there. It's almost always appropriate. It's appropriate on a sunny day or late at night. If you grew up on the Grateful Dead, which I certainly did, you listened to 10 million bootlegs. But you realize that American Beauty has some really tight, well-arranged songs that aren't meandering.

I graduated high school in 1989, and there was no alternative rock radio, and there wasn't really good college radio you could get on a car stereo. Once you get a car at that age, you're spending all the time you can away from home, sometimes just driving around aimlessly. Listening, or not even listening, but subconsciously soaking up this classic rock barrage.

I really like narrative songs, but I wonder if that's a thing for some people. Once they've heard the story, do they really need to hear the story again?

It's a template record for the intersection between pop and noise, starting out with 'Sunday Morning' - a real beautiful, almost innocent sunny day song. You have a lot of different types of things on one record. It can be really pretty, or it can be really awful inside, depending on where your head's at at the moment. I got it in ninth grade and I think I've listened to it every month since then.

Springsteen on that record started writing less about having your wind in your hair and turning the radio up and more about being dragged down by adult things. Regular people trying to get ahead. A little less mythical and romantic, and more real. It's a really spectacular record for that reason.

Someone should have a record that doesn't have any singing. It's my favorite Miles Davis record. I love hanging out in the summer, in New York, when it's miserably hot. I love electric Miles Davis in the summer. Jack Johnson, the songwriting especially, is a premier example of that. It always makes me feel hot in the city. It's also nice to have something not yelling in your ear. For me, as a lyricist, it's nice to put on something without any words.

You can't get every girl; you get the ones you love the best.

At forty-one, now I think it would be really cool to have an A&R guy say, "You know what? I don't think you've got this album sequenced right."

I think having a coach or an editor or whatever the novelist's producer is could help. If you finish a chapter and you turn it in to him, and he or she said, "That was pretty good, it might go better." Maybe that's what I'll try to find.

I'm able to draw outside my own personal experiences. No one wants to hear the song about what I really did today, which is go get coffee and clean my apartment.

A conversation with you is a different thing than projecting to a couple hundred people. It's bigger and more animated and it's on a bigger scope, but still in the heart, it's honestly me.

Just looking into something kind of analytically can give a lot of ideas.

I don't really pursue writing songs for other people. I guess one of the things I always think about is a good line in a song should be something I can hear myself saying.

I've tried to write songs for other people and it usually requires them singing it and then changing the phrasing. I can put a lot of words in a song, and one of the reasons is, I'm not that good of a singer, so I don't hold a lot of notes.

I was really obsessed with age. I kept saying it was a record about trying to age gracefully.

You can either go to the gym because you want to lose weight, or you can go to the gym because you like how it makes you feel when you're running.

I definitely hope to continue to release records at an accelerated pace.

The Catholic influence just comes from being raised Catholic, going to church every Sunday, being confirmed, going to church on holy days. So it's coming from where I am. It serves the purpose of having people who have a base or foundation where they know what's right.

The critics and hardcore music fans, those are the people you have to get to first, so we're really happy about it.

My style of lyric-writing is very specific and has a lot of details, and I think people react most to that.

People think of songwriting as a very personal thing: A guy gets up there with an acoustic guitar and he sings his heart out, bares his soul.

An album doesn't mean as much to a lot of people now, compared to just songs.

There's somewhat of a real fascination with American bands and American mythology in London.

If you wait four or five years between records, it better be a masterpiece, you know? And if you keep putting them out, you're saying, "Hey, here's 10 more songs.

The more you release records, in some ways it takes pressure off you.

You can think of a number of bands where the first record is by far their biggest record. And that must be hard for people to recapture. Hard for people to live with.

I think the other thing that shaped me a little bit is that I really didn't have any success in music until my early to mid-30s.

I am a really obsessive music listener, and I would look for clues.

I think you want to write a song that's like the songs you are into.

Sometimes people come up and say, "You have this line in this song and it meant a lot to me." You don't always remember that line as the one. You're putting part of your human being on the page so people are going to have different responses - the other humans are going to connect with different parts.

I use a lot of specific places in my songs - traditionally, a lot from Minneapolis and St. Paul, where I grew up. Most people, especially when you get into international touring, have not been there. So you say, "Well, isn't it risky to talk about the corner of Franklin Avenue and Lyndale?" If you do it right, someone should say, "God, I know a corner like that." Offering specific details to describe something universal.

I think when you are doing a song you're trying to give people enough details that they connect.

Sometimes things reveal themselves to you a little bit. I think it was Joan Didion that said, "We write to find out what we're thinking." And sometimes that happens.

One of the things is my process requires a lot of repetition. I can probably drive people crazy because I'm interested in playing a song twenty times in a row.

I think the biggest thing - and this I think is true of songs but also of movies and books and art in general - is when you have this moment where you hear a song or whatever and you say, "Hey, I've felt that exact way as a human being," and there's no easy way to describe it.

There's this moment sometimes, when you do a crossword puzzle and you have the one really long word. And once you get that, the whole thing kind of comes into focus. Sometimes it's just working things over in your mind and then finding that one line that kind of ties the song together, and now it works. It's a puzzle of sorts.

Some people will totally get restless, since you can make demos pretty easy. It's not unreasonable for someone to say, "All right, can you just record this and go home and work on it?"

Ironically, when I was playing in my first band, I would deliberately not write down any lyrics. I have a really good memory and I would just keep them in my head.

I don't have a problem rhyming "bar" with "car" - I do it all the time - but sometimes it doesn't feel right.

I remember I was really into this British band, The Vapors, with that song "Turning Japanese." I thought that they were really next level genius cryptic weirdos. And then I realized when I got older they are just using a lot of British words, and I didn't know what they meant. But I thought, Oh, they are making up their own language.

Words and music together create powerful, powerful things.

Before I had a driver's license, and I lived in the suburbs of Minneapolis and went to high school and came home - I could ride my bike around or get a ride from my parents, but my world was pretty small, limited. Like anyone at that age, I only knew things I could get to.

The reality is that the shows kind of disconnect from the songs a little bit. You're playing the songs, but they take on a life of their own.

I guess the drinking and the drugs are interesting to me because the way we use them and our society uses them, we kind of manufacture highs and lows.

I'm not a horror movie guy, but I think the guy that did Saw, or maybe House or something, he was saying you love that age as a storyteller because a nineteen-year-old is still dumb enough to make really bad decisions, but he's allowed to be out on his own.

One thing I have a tendency to do is not write choruses, or write choruses that have different words. The first chorus will have different words than the second chorus.

I've written a lot about drugs and alcohol. I wouldn't say it's because we've gotten bigger or anything, but I kind of feel a little bit done with it. There are other things to talk about.

I think making the songs is to put strength in the community in some way.

People make maps of all the places I've mentioned. I knew that those people were out there. I wanted to create something for them.

I would never talk to a girl in a bar, like a pick-up thing. But I could talk to anyone if they wore a t-shirt of a band I like.

One of the coolest things to me about going to a show is you look over, and the guy next to you is sitting there drinking a beer and he's wearing a Donkeys t-shirt. And you're like, "Dude, I love The Donkeys."

I'm not only a songwriter but I'm a massive music fan and I love going to shows. It's different than reading a book.

You are hearing this song, and you're 16, and it's a song about love, or a girl. And then maybe there's a girl at school that you like. So you're going to be thinking about that girl. That song is sort of about that girl. The songwriter doesn't know that girl, obviously. He wrote it for something else. But there's the specific meaning with the universal again.

In the end, when you're writing a really good song, it strikes the right tone.

If we enjoy what we're doing, we shouldn't really need a break.

My wife is very happy about me keeping all my music in my pocket.