It's really very easy for me to be in The Cardinals, because I bring my voice, my guitar, and my songs to them, and then we all play around to find out what works.

I can sort of will that stuff to happen to me if I put myself in the right headspace. Then I can actually get to a space where it won't just be one song that comes through, but a series of them.

I went down to Houston and I stopped in San 'Antone, I passed up the station for the bus. I was trying to find me something, but I wasn't sure just what... man, I ended up with pockets full of dust.

Being a rock musician is already like ego-tripping hardcore. You're self-consumed, and you're always thinking. It's really easy to say, "I'm going to write a song about this situation, and when I'm done, everyone will care." To everybody else, that's ego-tripping.

For any producer I've ever worked with, their toughest job is to convince me to not to obscure my vocals. A lot of people don't like the sound of their own voice on, like, cassette tape or something. It's like that for me, and other songwriters I know. Like, "Oh God, that's what I sound like?"

I always have to remember that I am the narrator, but it doesn't have to be about me. A lot of songwriting is about trying to use what part of me is valid in telling the story. I don't want to overcook it, you know? Sometimes it seems that's really where the work is.

The weirdest thing I've been fascinated with nowadays is the new contemporary country music, which to me sounds like very strange '70s pop, and sometimes like rock music. But some of the themes in there - maybe it's because I know how the songs were written, but it really does sound like it was written by two or three people, with the idea to appeal to the most general audience.