Behind every tree there's a new monster.

It may not necessarily reflect my current frame of mind. Sometimes I have to put myself at the point in time of the voice that I'm trying to sing with.

Sometimes you could tell what it was about - it was interesting - and sometimes it was quite obvious that someone had lost it and it was on an endless loop.

Most people outside of America won't get it. It's the Easter bunny. It's another lie and I don't understand why we had to invent this character.

The God that can only love something like this man. And from then on it was all downhill.

So there was a way for you to get promoted and survive as an artist without worrying about AM radio hits.

One Long Year was just a song here and there, and it was meant to reflect the mood that I was in but unfortunately it also reflected too little of any particular thing rather than hanging together as a whole album.

And so it's inescapable and people who proclaim scrupulous honesty can only proclaim that if they don't examine closely the things they believe.

It's the only way that YOUR life is gonna have any value to you. If you're just living the same life that everybody else is living what's the point?

There are some things that we know are just not as pleasant as the lies that we tell ourselves, and in that sense in order to endure existence everyone endures a certain amount of dishonesty in their everyday lives.

The problem turned out to be that I never was that kind of an artist.

I've got billions of sparrows to worry about as well as everything else'. So there's the whole idea that whatever it is that you believe, it can never be valid unless you have some consensus reality demonstration.

There are still people who believe in that and wake up every day believing it's possible, and invest their whole selves in that.

It seems like a totally gratuitous myth to tell people a giant rabbit comes round at night leaving candy in a haphazard way around the house... and the cover shows the bunny caught in the act.

You do have a modicum of peace of mind here, but it's as unsettled as any other place.

Singles needed to come back. And what I tried to do in my online experiment was to change the rules for myself and make available at a more regular pace the fruits of my labour, for people who decided they wanted to support my recordings.

Behind every tree there's a new monster.

Most people didn't have the bandwidth to download whole albums. And so it brought back this cherry picking idea that the audience would focus on certain songs and possibly be the impetus behind what eventually got on AM radio: the single or whatever.

So I don't think I'm gonna pull my head into my shell just because a bunch of people start acting like idiots.

'Something/Anything?' was kind of a different record, since I'm playing everything myself. A lot of the songs on there have a particular kind of instrumentation that is much like a guitar quartet, and in some ways, it's an exceptional song on that record because so much of the writing on 'Something/Anything?' is piano-oriented.

'State' can be a word that is a noun or a verb or an adverb - it's kind of why I chose that title. It's not to confound the audience but to keep me from painting myself into a cul-de-sac in the early stages of making a record by having too high concept or having some really strict set of rules I have to adhere to.

All it takes to become president is money and a certain kind of power. Being president is the first thing I can shoot for, not the highest. It may come to a point where people take rock and roll musicians more seriously than they take politicians. It may eventually turn out that musicians have more credibility.

Because of the way the record business has kind of stumbled and disintegrated, in a way, you're as likely to sell records at your merch table at your gigs as you are to sell them in a regular record outlet or even online.

Before there were any sort of 'recordings' there was performance. If we are devolved back to the Stone Age tomorrow, there will be performance.

By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.

Celebrities are the fodder of much of the media business, so they're always interested in making you seem provocative when you're not, or trying to bring you some sort of embarrassment by revealing something you'd rather not have revealed. That's the downside of celebrity.

Every once in a while, we have some sort of movement in music that everyone suddenly wants to work in, like grunge or rap or disco or some other musical phase, and then suddenly, that'll be the thing to do.

Exploitation was rampant before statehood, and various factions actively tried to eradicate the roots of Hawaiian culture in the process of converting the natives to European religious beliefs. Some of the results can never be undone. We try to honor what is left.

I am a laptop boy. People say: 'Where's your studio?' I say: 'It's in my laptop, in my rucksack.'

I can't stand Beyonce. The way she sells it so hard, constantly. Everything is shoved right in your face. Like, you don't have the sense to make a judgment of your own.

I certainly have a fascination with pop music as a musical form, not necessarily as a lifelong commitment. I guess you could say I'm like a Casanova of music. I can't seem to settle down with one musical form.

I decided early on that I wanted to be Michael Bloomfield, Jeff Beck and Eric Clapton - not George Harrison.

I didn't expect to become an artist. I was not comfortable going out on the road.

I don't have a long history of hit singles of my own. I had a few, and I had a little hot streak in the '70s, but I've had a lot of success producing other people.

I don't know what the inspiration for most of songs really mean until I finish them. For the most part, I'm going for a visceral impression, and I write the words last.

I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.

I figure it could become a self-fulfilling prophecy; if I make a successful arena rock record, I'll wind up playing arenas! I wouldn't mind being back in that kind of venue because of the kinds of things you can do with production. You can make your shows more interesting, which would be fun to do.

I first started doing some somewhat technology-based shows in the '80s. If you wanted to get real technical about it, back in the '70s I used to open up with Utopia with just me on the stage with a four-track tape recorder. So, technically, I've been using the help of various devices pretty much throughout my career.

I got it into my head that I had somewhat neglected the guitar, and then I did a record called 'Arena,' and it was not a particularly bad record - it wasn't a bad record at all, but it was built around a certain concept, which is a guitar quartet, with a little bit of augmentation here and there.

I never look for music by genre. I look for an artist who puts a dependable trademark on things. Like Elvis Costello - he's a great songwriter who presents his songs in a number of contexts. I feel the same about my own music.

I never thought a Rock and Roll Hall of Fame in Cleveland or anywhere else was a good idea.

I really consider myself fortunate to have been of age during the musical revolution that came in the form of the Beatles. People don't realize that previous to the Beatles, there really was no such thing as an album artist. People made singles. Then they would put a bunch of those singles together and call it an album. And that was it.

I think there are always people who, when they get the bug to play an instrument, they want to get as good as they can with it rather than just be simply adequate at it. You run into them every once in a while - some kid who wants to be the next Stevie Ray Vaughan, for whatever reason, and plays exactly like him.

I used to have sort of mixed feelings about a producer whose only skills seemed to be going into the studio, schmoozing the artists and making them feel good. I can see now that in some cases, that's what you have to do because that's the only way you're going to get them to produce.

I want to be known as a professional weirdo. There aren't many Salvador Dalis or Buckminster Fullers left. If I become popular enough, I can establish the next step for records.

I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise.

I write in a very strange way. Things are very fragmentary for a very long time, and then they come together very quickly near the end of the process.

I'm a guitar player, really - I mean, first and foremost - I grew up with all that great 1960s music, in terms of growing up, becoming a musician, so it's like first-love stuff; I'm always going to go back to it.

I'm not a one-hit wonder as some suggest. I've had a couple of hits, but still, all of my hits were in the '70s. There was pretty much nothing in the '80s, '90s, or in the first full decade into the next millennium.