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.

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.

I think people feel starved of nice, glamorous entertainment. They want to see costumes and gaiety and a singer; old-fashioned entertainment - it won't die easily.

I think in a weird way that the entertainment industry is strangely more brutally honest than any other.

The makers of entertainment must try, in our field, to be honest and grown-up.

The game has kept faith with the public, maintaining its old admission price for nearly thirty years while other forms of entertainment have doubled and tripled in price. And it will probably never change.

I'm very lucky to work in so many different arenas of the entertainment industry and I do enjoy them all, but making music - original music - in the studio or live onstage is definitely my favorite thing to do.

The analysis of character is the highest human entertainment.

It's important to remember that, first and foremost, if not only, this is entertainment. "The West Wing" isn't meant to be good for you.

No entertainment is so cheap as reading, nor any pleasure so lasting. She will not want new fashions nor regret the loss of expensive diversions or variety of company if she can be amused with an author in her closet.

My brother Cody is 19. He wants to stay out of the limelight and become a lawyer. I want him to be an entertainment lawyer, so he can help me out!

Florida has tons of entertainment opportunities because Walt Disney World and Universal Studios are there.

Americas are, for a variety of reasons, the most adept at producing the kind of entertainment that delivers easy satisfactions.

In dire economic times, movies are relatively inexpensive entertainment for the whole family.

Let's stop playing with ourselves and get on with the entertainment, shall we?

I've been chased. I've been pushed. I've been screamed at. I've been verbally abused. I've been afraid for my safety. But I did it all in the name of entertainment.

I hardly ever listen to any of our old stuff now. Once the songs have been recorded and put on to vinyl they become someone else's entertainment, not mine.

The standard entertainment industry reaction to Hollywood's box office slump reveals the same shallow, materialistic mindset that helped create the problem in the first place.