Let's raise our glass and let the hammer fly, yeah, this is the long good-bye.

Most of the artists I know are crazy in one way or another. I think that's why you get into it. You're in pursuit of a certain sort of peace that's very, very, very difficult to come by.

I was in my late 20s, in the process of shaping my musical outlook and what I wanted it to be about, when I first encountered Woody Guthrie.

The music is pretty relentless. You've got to find some way of letting the audience breathe for a minute, give them a little bit of air - but not too much. Otherwise it would get real intense. The room would get very tense.

I think if somebody comes up and simply says, your jobs? I'm going to bring them back. You're not comfortable with the browning of America? I'm going to build a wall. ISIS, I'm going to defeat them. Those are very - it's a simple, but it was a compelling message for a lot of people.

When I was growing up, there were two things that were unpopular in my house. One was me, and the other was my guitar.

You still had to find the music inside your language. You know, it was - that's a big part of what sort of moved me to begin writing the book. I wrote a little essay and I felt, yeah, this is a good voice. This is a good feeling. It feels like me.