I was required by Capital to release one every six months and the fastest I could do with all my touring was every nine months, and it would spook me every time because I never had what I needed and I really didn't want to do covers.

It is not a mystical thing, however, it is obvious and practical and I think that what the performer does is to try to get to that point with every choice you make from the phrasing in a tune to the choice of tunes.

Yeah, the first thing that comes to mind is not to try too hard.

I would say that if you don't feel like talking to the crowd something is wrong and if you force yourself to talk to them things will happen and to that extent things aren't choreographed.

I was two and a half and my folks would put it on the record player and I would run around the house screaming, but I haven't been that hip since.

I think that open tunings are a trap really because it's really hard not to sound like an open tuning when your using one and that gets old as well as what you learn in one open tuning is going to stay there.

The first music I was exposed to was Stravinsky and I loved it but I don't remember it.

Yes and for two reasons: one, I couldn't find anything to imitate at the time, and secondly because what I heard on the radio didn't bear any resemblance to what I wanted to hear on the guitar.

That was when I found out that you could talk to them and it was a whole other way to blow your stack, and it's so much fun to perform that you want to do it again and the more you get out of it the better.

Yeah I do and I don't mind, in fact that is one of the real encouraging things about this whole career of mine is that there are tunes I wrote almost thirty years ago that I will still play in front of an audience and I still like the old tunes.

I was taking a nose dive somewhere between eleven and twelve because my sister had died and I was practicing something that siblings do which is follow in their footsteps and die as well.

I'm not subject to their rise and fall because I'm not accepted by them, so I have my own little curve going on. A lot of it is because of how much I play, I think I connect like when all you had was Vaudeville, I think I have an audience by performing a lot!

It was a kind of paralysis you would get from tendonitis and I would last about five to ten minutes into the set and it would set in and I really couldn't play.

I was required by Capital to release one every six months and the fastest I could do with all my touring was every nine months, and it would spook me every time because I never had what I needed and I really didn't want to do covers.

It's true that the more you put in the more you get out and that has to be there I think, If you aren't really hooked on your instrument this job would be a hell on earth but if you are, it's the best.

I do have a library of events I can talk about and I always expect to find a different point of view on it so even if I talk about the same event in the same town it's fresh.

We had a day off here yesterday and I just sat in my room and played.

I seem to find different material every four to six months and I frequently forget it which is a shame because it would be nice to have a bigger library.

The bulk of my set is instrumental and you have to give yourself and the audience some relief because a performance is not about great guitar playing it's really about entertainment.

The principle element in a performance is risk, and if you're losing interest then by scaring yourself to death the audience will feel it and boy it'll wake them up.

I think if you are writing an instrumental you are dealing with more of an aesthetic in a sense but a lyric is more of a putting yourself on the line and a much more expensive exercise.

I don't spend a lot of time thinking of what they'll do musically, I try to imagine being locked into a windowless room with this person for twelve hours at a time. If you can look at that and think it might be fun then maybe you've got the right musician.

You can't really tell what the audience wants but you can tell what will keep everybodies attention in the same place.

I had been playing single note instruments and I wanted to hear a guitar played as a piano.

It was almost two years after I left Capital that I put out the first one on Chrysalis and that was really instructive because it was no better in particular than any other record I'd done.

It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.

When a record company looks at me I'm very hard to market, I don't really fit anywhere, It's hard to get me on the air, and I'm hard to demography, but! because of that I'm not subject to trends like you pointed out.

There are nights when you can feel stale because you've fallen into a pattern by touring too much, but it's easy to get out of it by deliberately getting in trouble and playing yourself into a corner to then see if you can get out of it.

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

I am evidence that you don't have to sell a lot of records or succeed in the usual way to have a big audience and a job.

When the audience is awful you can still have a great night and people will walk out thinking they had a great time even though there was loads of loudmouths and the sound was terrible.

I have always thought of myself as a performer first and way down the line as a recording artist.

I will literally open my mouth not knowing what is coming out.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Given six months to live and being the fighter that I am, I set high goals for myself.

It wasn't my plan to create such a record. All I did was put in the effort to win every match I played and it went on for weeks, months and years until my defeat to Ross Norman in Toulouse in 1986.

It was pretty extensive - we worked out 8 hours a day, 5 days a week, for 3 months, which I think is more than anybody in the Olympics. I thought well I don't need this, the girls need it, but it was a gift.

I would not be gotten into a schoolhouse until I was eight years old. Nor did I accomplish much after I started. I doubt if I had gone to school six months in all when my father died. I was fourteen at the time.

We all laughed. It was more like that whole thing that I was talking about earlier. You go to training camp and after the season is over, you might not see the guys for six months until you go back to training camp.

Oh yeah, I mean, it wasn't a very good guitar, most good guitars have got thrust rods in the necks that you can adjust or that'll keep them in shape, you know keep them straight. This one just, well it turned into a bow and arrow after a couple of months.

I am a writer. I could not afford to take 15 months off from my writing career to play detective.

You know, I live a monastic lifestyle. No, I do. I do live in extremes, basically. I go back and forth. Once every six months, I'll have a day where I eat more chocolate than has ever been consumed by a human being.

I knew that if I wrote a new book every six months or every year, if I continued to read great books, eventually I would write something worthy of publication. I understood I might be in my forties or my fifties or even my sixties, but I felt confident that it would happen.

The penalty for laughing in a courtroom is six months in jail; if it were not for this penalty, the jury would never hear the evidence.

I think a benefit is that we try to put it up in a short time. From the decision to do this mission until we fly, it's six months and one week or so, so it's a very short time.

One day my wife went and saw the accountant and said she's pulling the plug. She said you guys are done. I said, how bad can it be? 10 grand? She said you're not even close. It came out to almost $50,000 in alcohol for two months.

Well, by the end of the millennium, five, six months from now, we hope to somehow manage to move into a new location where we have the whole building, so we can devote space to all our activities.

The accent got lost somewhere along the way. I'm a little embarrassed about it. When I arrived in LA I assumed I'd be able to put on the American accent. It proved difficult so I had six months working with a dialect coach and it's become a habit.

I went from 118 pounds to 135 pounds in a few months. But, I still didn't know anything about food.