I had a dream that Louis Armstrong was playing the 'Swept Away' melody. I have no idea where it came from. But Louis Armstrong was playing it and singing the song to me. I woke up-it's a borrowed melody no doubt-and wrote it down. If I hear a song and I choose not to put it down, that's me neglecting to accept that song. I think there's a very spiritual and godly-type ting that happens, and it happens to way more people than we know. It's just that very few of us choose to engage it.

We have to continue to grow within and outwardly. We have to keep going.

Women of all looks, shapes, sizes, everything, if they recognize how beautiful they are-because they all are-then they carry it that way. And you can see that. Confidence is reflected in how they walk and how they dress and how they speak and how they carry themselves. It's just amazing. And that can turn anybody's head pretty quick, especially mine.

In painting, the key is not taking myself seriously to the point where it kills sincerity.

It was Rick's Rubin idea to have the 'Brooklyn' verse repeat. It already was a story, but having that made it a folk song. Instead of this rambling march of verses, Rick understands that music needs hooks. You need that repeated chorus, that everyone can sing along to.

I think everyone on the planet is a fan of a painting because everyone is a fan of visual stimulation, but I've had freedom in the world [of painting] because I've kept it to myself.

Someone like John Prine can write a song that tears into your soul, turn it over, and write a song that makes you laugh and feel light as a feather. With someone like him, you're getting a real picture of a person, a real expression.