I've made my records and I've done all the interviews. I've done lots of long tours. I've made stupid videos. I've done all that stuff and learned all the lingo and gone to radio stations and shmoozed with DJs on the air and met retail people.

If you're going to exude naivete, you can't really... walk out there like it's a Sting show. You can't be that well put together and then have this kind of innocent bravado.

It more or less has the shape of a love song, but 'Crescent Moon' reflects more my longing for an ancient romantic context that includes wild animals, fire, danger of death, stellar navigation, and seasonal intuition.

People go back to the stuff that doesn't cost a lot of money and the stuff that you don't have to hand money to over and over again. Stuff that you get for free, stuff that your older brother gives you, stuff that you can get out of the local library.

Some have called we rock and roll performers who never retire 'troubadours.' I enjoy this misnomer immensely. While there are many differences between me and my distant predecessors in L'Occitane, I do believe there is a lineage that connects us of the last 70 years with those romantic singers of the High Middle Ages.

The dumber half of the audience - whether they're male or female, and a lot of them are male - for some reason responds very quickly to the feminine voice. How can I put it? They kind of instantly react to the female voice in a positive way quicker than they would the male voice.

They're a different generation, those kids; kids that are under the age of twelve. They're not that impressed by rock music, you know what I mean? They're like, it's cool and everything, but whatever. They're just as impressed by YouTube.

You should never rely on interviews with musicians as being factual. Most of them are mangled and even have made up stuff in them, that is to say, made up stuff by the writer or editor.

But the truth is that critics are by definition critical. That's their job.

It's obvious you shouldn't steal, kill or be cruel.

I drive a lot. Just for pleasure. Sometimes I'll get in the Cadillac and drive around the city or the country, kind of trying to get lost basically. Y'know, just see where roads lead.

It's sour grapes, I admit, I want to be more famous so people are examining my work couplet by couplet, you know what I mean? That's the level where I want to go.

As soon as I got into music, I tried to be a working, real artist who gets paid for what he does, who doesn't have a day job.

I can remember back as far as age 8, performing with the Boston Folk Song Society. It was a Woody Guthrie song.

I have two step-kids and one of my own on the way. That's three college funds.

I listen to Neil Young and jazz and classical stations and, if my girlfriend's driving, it tends to be Hall & Oates.

I've got a small, loyal audience, which is great. And I appreciate that. They're there for me every time.

My most cryptic, strange songs might be my most personal, but that isn't how people are going to receive them, because they don't know the code.

The first thing that inspires any song is a chord progression. When I have one I really like, I get into the lyrics even more.

There's more to life than listening to rock music.