SW: I respect the fact that you stuck to your guns and stuck to doing what you do best. I know of so many musicians, particularly here in LA, who, at one time, were brilliant musicians but felt the need they had to change their musical style, particularly when the grunge movement hit. They bought a pair of Dockers and flannel shirts and changed their guitar tones and their equipment and really tried to play like the grunge bands from Seattle, and it sounded like shit. It was really stupid, and you can tell it was phony. They didn't even have the creativity or integrity that some of the Seattle bands showed. It was a joke.
DC: That's the time I told my management to get me the hell out of here. The kind of music I'm into continued to be hot overseas and it's still there - especially in countries like France and Spain...they are diehards over there, there's no way they will ever let this die.

SW: So many bands these days concentrate all the efforts on "breaking big" in America, and they don't realize there are so many other avenues they can take and be truer to their music.
DC: It's the point of survival. And there was no way I was gonna make a living doing what I do here in the US. And I took a shitload of criticism from many people saying stuff like "you couldn't make it in the US so you had to go overseas." And I'm like, "yeah, that's true." But I look back and realize I've toured in 26 countries over the past ten years, and not many musicians can say that. It's not like I'm throwing it in anybody's face or anything, but if I wouldn't have stuck my neck out and went for it, I would still be here in the US and I probably wouldn't be doing jack. I don't know if I would even still be in the music business. You can't limit what you do, and I tell other musicians the same thing. You gotta shop your music overseas and look at it as an international situation and not just a one country market. If you put any kind of limits on that, you're automatically putting a limit on your career.