I've always had to deal with being biracial, even in music. When I came on the scene, I'd go to these record labels, and they'd say things like, "Lenny Kravitz. That's a weird name." I'm brown-skinned and I've got these dreadlocks and I've got this Jewish last name.
I think it'd be a real nightmare to put a record out and sell 20 million copies and then that's it.
I wasn't the kind of person that liked waiting for autographs or following them, I just liked to go to the shows, study their records, driving many, many hours to different states to go to concerts.
I made the record that my life had me make. Each one is like a diary.
I've had to work very hard, and I don't really have a category or fit into any niche, so each time I come out with a new record, it's like, I'm a new guy.
If you heard my records and no one told you, I don't think you'd know whether it's a band or one guy.
It's a trip to have a Greatest Hits record. It's a trip.
Today, people are more into the glitz and the glamour of everything. We don't even read the inside of records anymore.
When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.
If you listen to a lot of old funk records, the drums are really small. But you don't perceive it like that because the groove is so heavy.