I think we've always been better live.

I think we've always been better live.

We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

I loved Mal Evans holding one note down on You Won't See Me from Rubber Soul.

Fortunately, as we all know, it's impossible for anybody but Jimmy Smith to really sound like Jimmy Smith.

Jeff Lynne is an arranger, and I think it's probably much easier for him to go ahead and play a part himself than to try to show somebody else what he wants. But it's hard for me to say; I barely know Jeff.

I'm playing 10 feet from Mike Campbell every night. I look across the stage, there's Howie. Tom's in the middle and we're playing all this stuff I love. It's great.

If you call attention to yourself at the expense of the song, that's the cardinal sin.

Besides, I'm fairly incompetent. I can't play that fast.

I try to find little things that you can do to move the song along and things that serve the song.

I loved working with Bob Dylan.

Sometimes you work with somebody you've never heard of because you just feel like working.

Working with Waylon Jennings and Willie Nelson takes you up another level.

I don't know about five guys against the world. It's more like five guys against these three chords, and we're gonna wrestle 'em down no matter what it takes.

I got to play on a couple of records with the Rolling Stones, and that was really special to me.

You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.

Bob Dylan's not a hype and a haircut: he's the real thing.

I learned that the songs that mean the most to me are the songs that I write by myself. While there were people I wrote really well with, particularly Gary Nicholson and Delbert McClinton, and I really enjoyed the experience, I came away from it feeling like I need to write by myself.

I quit college and neglected to tell my dad.

I think I drift toward sad love songs.

I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.

I was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.

I've always written songs since I was a kid - always.

In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.

What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.

Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.

The most common way people give up their power is by thinking they don’t have any.

The people of Maine were tired of being in debt and tired of being overtaxed.

For me optimism is two lovers walking into the sunset arm in arm. Or maybe into the sunrise - whatever appeals to you.

There's a YouTube video of these two kittens that just fall over and pass out. My blood sugar's crazy, so I would pass out sometimes, like the fainting kittens.

Churches know more about poverty than any government will ever know, because we're dealing with the poor every day.

I've probably done more venture capital deals and expansion financings than I have done private equity deals. But both are the same. Private equity companies have also built jobs.

My family weren't actors, and we didn't know any actors. It wasn't even something I was aware you could do as a job. I thought you had to be a Redgrave or a Barrymore before you were allowed to go to drama school.

I consider ISIS nothing more than an excuse for Iran to continue its mischief.

Leaders lead but in the end it's the people who deliver.

Al Qaeda's message that violence, terrorism and extremism are the only answer for Arabs seeking dignity and hope is being rejected each day in Tunisia, Egypt, Libya, Syria, Yemen, Bahrain and throughout the Arab lands.

Democrats want to use the slowdown as an excuse to do what their special interests are always begging for: higher taxes, bigger government and less trade with other nations.

I always think of buildings in their settings, but so do other architects.

I don't for a moment believe that women have suffered the same kind of injustices that blacks have - women have never been enslaved. But still, many of the psychological and economic problems are the same.

I've always liked stories. I'm always reading, ever since I was a kid. I've always been reading and wanting to be in some other world.

A 10-pound sack of potatoes lasts a long time.

Choose success first, no matter what—then back yourself into a career.

I don't think there is a fictional character who resembles me because fictional characters are not real!

Even after he was gone, I still loved my father. I looked Norwegian, like him, with a long face, strong jaw, thin mouth, and flashing eyes. And, like him, I was verbal, easygoing, and low-key on the surface, and, deep down, proud, socially paranoid, full of self-loathing, and prone to rage at injustice.

Your magnificence has made me a wonder. Your charm has taught me the way of love.

My job is to play many different roles with all sorts of different backgrounds and orientations.

I remember the first time I went out on the street to shoot pictures. I was in downtown Philadelphia, and I just took a walk and started making contact with people and photographing them, and I thought, 'I love this. This is what I want to do forever.' There was never another question.

When something comes up that attacks people's beliefs, their first reaction tends to be fear.