I valued the experience of making the recordings, and I value the performances contained therein, and I value so much of what they can represent. I also think they're a terrific listening experience. Putting them out this way was a way of trying to maintain and nurture the relationship with the audience and also shine a light on the recent past, because we are so apt to be forgetful as human beings that there was such a thing as a recent past. These are some of the reasons for making this record.

There's nothing that compares to watching that final of Charles Mee’s 'The Glory of the World' play at BAM17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.

Too much emphasis is put on American roots music when people try and place me. You know, I grew up listening to punk.

My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.

It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

When I was a kid, I always thought that acting was going to be the way to go.

Then little writings and recordings that thankfully continue to come up. I'm in this kind of wonderful, kind of awkward, off-putting, and strange position where there's nothing I want to do more than continue to make music, but the ways that I do things are not in tune with how I can do them commercially.