It is all about being open and paying attention to the music in your head. I think most people have original music playing in their heads from time to time.

I wish I had a nickel for every song that I’ve left in the bathroom, written down on a matchbox, or just totally forgotten about.

As a solo artist, I just felt cemented in front of the mike stand. There was very little time to play with the audience and be a band member.

By the time I did that third solo album, I’d finally learned how to do it, but I’d also learned that I liked being in a band.

I love the idea of stepping out of the band situation into a solo world with no boundaries, no expectations, where nothing is out of bounds.

When a song gets its legs and begins to come to me, this is the euphoric hook that keeps me wanting to continue.

I was born in Alabama and my first live music experiences were in church. Every Sunday we watched regional gospel groups on television singing their hearts out.

I like being on the road, living in hotels. While I’ve got a real nice house, I go crazy when I’m there.

When you sign with a label, they do insist upon certain rights, and if you have a competent attorney, your rights will be protected.

I’m not the kind of guy who deserves to play a vintage guitar because I’m too rough on instruments.

I feel like I have the greatest life an artist could dream of.

I’ve always stuck with Gibsons. I’ve had Guilds and Fenders, too, but I always wind up going back to Gibsons.

I don’t like looking back.

Success is fickle, but creativity is a gift.

It is all about being open and paying attention to the music in your head. I think most people have original music playing in their heads from time to time.

When I was about 3, my grandfather used to give me and my sister a nickel to sit out on the front porch with him and sing songs.

When I became 16 I started thinking seriously about singing.

We were playing popular music, but we were doing our own arrangements because we were too lazy to sit down and figure out the originals.

Make sure you know what you are signing when you sign a recording contract.

Timing is everything.

It was more fun trying to figure out I Want To Hold Your Hand than to take lessons. By this time I knew basic chords.

I have always been a sucker for the big, upbeat chorus.

You can have fun, but you also have to put on your thinking cap every day.

If music became extinct now, I don’t know what I’d be good for.

Around ’75 when the recession hit, club owners started going to disco because it was cheaper for them to just buy a sound system than it was to hire a band.

We’re kind of defined by our mistakes.

There were some older guitarists on my side of town, and I got to know many of them.

If I have an idea, I write it down, although I usually carry a little dictation machine with me because I’m too lazy to write.

When it stops being fun, stop.

Songwriting is the other weight on the opposite side of the scale from touring. They balance me out creatively.

I’d better be on the road, or I’ll be going nuts. I’m not the kind of guy who sits around with a pipe and slippers watching soap operas.

I don’t write on tour. There is so much to do day in and day out when you are on the road.

I soon gave up instruction for self-teaching.

I wrote songs all my life, where anyone wanted to hear them or not.

On acoustic guitar I tend to stay in the key of D for some reason. On electric guitar I keep basic: C, G, D, and A. The key of D minor is also real good for me.

Once you start thinking about it in a mercenary frame of mind, then you’re finished. You’re a joke, because there are too many mercenaries out there already.

Les Pauls work out real well for me because I’ll beat the hell out of them and they’ll still work. The only trouble with them is finding good ones.