I'm used to writing stories with a beginning a middle and an end in four minutes.

From the moment [Bob] Dylan arrived as a songwriter, he was [so] much better than everybody else around.

Bob Dylan emerged from nowhere, like an alien. And that was just the start.

When you're really bummed out, the last thing you want to hear is up-tempo and positive. And it lets you know that you're not alone, that somebody has hurt before. It works the same way with chick songs as it does with political songs. When you hear somebody singing about these things, you know that you're not alone, that somebody else is suspicious of what's going on around us in the world. So you don't feel like you're crazy, and you feel like you might be able to make a difference.

I'm trying to make records where people don't feel cheated. Nashville has been guilty of insulting the Country Music audience for years and years.

You make decisions, and that's what separates art from some other pop music. It doesn't mean that you can't make an embarrassing amount of money, for a borderline Marxist, doing something that you love, but it does mean that this huge pool of money that was out there when I started making records in the '80s is gone.

I'm supposed to make people cry, but not by manipulating.