I write songs about things that I’m simultaneously trying not to think about.
My first album is like a terrible John Hammond album, with drums.
I wish I sang better.
I’m drinking here break motor oil and Bombay gin, I’ll sleep when I’m dead.
I played a lot of real normal, straight sessions.
Send lawyers, guns, and money. Dad, get me out of this.
Your face looked like something Death brought with him in his suitcase.
It’s hard to find a girl with a heart of gold, when you’re living in a four letter world.
Duncan Aldrich has been my partner in most recording projects, and touring projects, for the past decade.
Piano is like drudgery.
Mutineer is the first album of mine without a demo stage.
You had to go to a different part of town from where I was to get Muddy Waters singles. I had him on singles.
Can’t you just imagine digging up the King, begging him to sing about those heavenly mansions Jesus mentioned.
Recording at home enables one to eliminate the demo stage, and the presentation stage in the studio, too.
I missed jazz, kind of. And by the time I came to it in life, it was too intimidating to enjoy thoroughly.
I don’t like piano solos.
But there’s a thin line between songwriting and arranging.
I don’t learn so good, no matter how good the teacher is.
Dylan doesn’t have to make Blonde On Blonde every time.
Well, I don’t think it ever did, but in the early ’60s I got interested in folk music.
I write each song individually and each one calls for individual musicians, You sit around and wonder who can we get to play a Neil Young solo, and then you realize there’s a good chance you can get Neil himself.