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

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.

You reach deep down and bring up what feels absolutely authentic to you as you move along with the book, but you don't know everything about it. You can't.

Keys show up when you reconcile yourself to the bus.

We need a leader who puts the health and well-being of the country ahead of 2016 politics.

Democracy is the name we give the people whenever we need them.

I think the longer a sitcom is on the air, by necessity, the dumber the characters have to get: otherwise, they would be learning and growing, and they won't be funny, so they have to get more and more extremely whatever they are.

Scaring someone's the hardest thing to do, and that's why most of these scary movies are not scary. They're sick, but not scary. There's a lot of sickness out there, of people who then sit there and watch it, which I think is absolutely dismaying.

You must always be open to new experiences; by this means, your physical and etheric bodies will be brought into a condition which may be compared with the contented mood of a brooding hen.

There is a myth out there that somehow anabolic steroids can turn a cub into a bear. Steroids won't make you tough and competitive. What they will do is ruin your health. It's that simple.

Love is a fruit in season at all times and in reach of every hand

And a lot of the artists and people that we hired were fans of Transformers growing up, so having so many fans working on my crew really kept me on point.

I throw 14 parties a week.

We were going to have to experiment, and we needed to develop our younger players. And a lot of the changes were because of injuries. But that's where I give a lot of credit to the group in terms of being able to maintain things.

There's nothing more fundamentally disruptive to the status quo than a new reality.

I was fed up with being just plain Jane.

If you travel in countries like Morocco, and I say that because I have just come from Morocco, if people are shouting at each other in an argument, violence is not going to follow. That would be just so far removed.

The world has been experiencing a whole pattern of auto-destruction, whether in environmental disasters like Chernobyl or health disasters like AIDS.

You can get all A's and still flunk life.

The harder you work... and visualize something, the luckier you get.

Hope is like one of those orchids that grows around toxic waste: lovely in itself - and an assertion, if you like, of indefatigable good - but a sure sign that something nasty lies underneath.

As we consider the causes of depression, those of us in the church must face the ways we might be responsible for creating it.

I think the government must recognise that the wounds of conflict are even more grievous on the mind than the body, and indeed may even serve to fuel further conflict. Where conflict cannot be avoided, provision of adequate psychosocial services to prevent the adverse mental health consequences should take priority.

There comes a point when you have to realize that you'll never be good enough for some people. The question is, is that your problem or theirs?