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I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
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In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.
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Besides, I'm fairly incompetent. I can't play that fast.
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Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.
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I did enjoy Nashville a lot of the time, because I made really good friends who were really good songwriters, and they would be a joy to hang out with.
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I try to find little things that you can do to move the song along and things that serve the song.
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I loved Mal Evans holding one note down on You Won't See Me from Rubber Soul.
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I've always written songs since I was a kid - always.
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I'm playing 10 feet from Mike Campbell every night. I look across the stage, there's Howie. Tom's in the middle and we're playing all this stuff I love. It's great.
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I was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.
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I quit college and neglected to tell my dad.
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I loved working with Bob Dylan.