I'm 63. It's kind extraordinary that I'm out here at all and people want to see me.
The band is like a vintage car. You take it out to go for a spin for a couple miles, but you wouldn't drive across the country.
If you make money back from your record, you're doing it smart. It's an expensive hobby. I'm lucky enough to still make a living as a musician through live work and odd bits of royalties.
Most comedians I know are quite serious, anxious people who find life rather difficult. As a consequence, they make people laugh.
Comedy is what happens when you cross the dateline from the unbearable. Things become so unbearable they become a joke.
I would be quite happy never to play any of my better-known songs again. But unless you're Dylan, you can't afford to completely disregard what your audience wants.
I've never been burdened with a hit record, so I don't have to play the same songs. I play songs people think they like.
Generally, I have an instinct for the noncommercial. And the unpopular.
If I played just one song from every album, I would be onstage for two and a half hours. No one wants a show that long.
I think The Beatles are the lasting influence on me, even more so than Dylan.
Like trillions of others, if it wasn't for Bob Dylan, it would have been a different musical landscape. Pop music wouldn't have been my thing at all. I did also grow up listening to The Beatles, but I never thought of being a Beatle.
Just as with a guitar, you can improvise a guitar solo, and they'd probably be similar each time, but they won't be exactly the same. With the word, it's probably a bit freer than that. I probably repeat myself more musically than I do verbally.
I don't really have the gift of the sustained narrative that you need to write a book. I've tried a couple of times, and it just doesn't work. But I get some good passages, so what I'm going to do is just take sections out of them.
I could never be a professional comedian, 'cause you have to keep telling the same jokes. For me, they're like word solos.
I'm good at line-drawing, and some of my color stuff is okay. So I just do it for record covers.
When I first started listening to music intently as a teenager, I was always sitting there with a biro or a pencil, drawing. That's how I absorbed it all.
I don't advocate Stalinist monolithic state structures any more than I advocate capitalistic monoliths. Unfortunately, human society tends to the monolithic, whether you go to the left or right, everybody in leathers, or everybody holding Chairman Mao's book, and if everybody goes to one end of the pitch, I always go to the other.
People in the future look back on primitive machinery or technology or painting, and in some ways, it always seems amazingly intricate and finely wrought.
People from the past always seem to have much more time to create beautiful, intricate, delicate things that often reach the future in a kind of curled-up, capsized state.
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