I work hard at that, but the fact that there are a lot of good songs means there are also a lot of really bad songs I've written that you never hear.
From John Fogerty
I wrote that song for my wife, and it's what some guy who's sitting under a tree would be singing to the woman of his life, telling her how wonderful she is. To me, that's more lasting than something that sounds like it belongs on a movie soundtrack.
I'm like a twenty-two-year-old kid in a new band trying to get noticed and break through, because the vast majority of people have never seen me play live.
I'm much more energetic now; you might say live performance is my mission.
I'm now comfortable playing a lot of the old songs, and I've gotten out a lot of the old equipment.
I've also become much more the musician I've always wanted to be.
I've studied a lot of great people over the years - Pete Seeger, James Brown - and tried to incorporate elements that I've admired, though I can't say I dance like James.
Now that I'm older, I like almost anything that's done well, even surf music and instrumentals; I really enjoyed the interviews with the Ventures in your magazine.
On Eye of the Zombie, I had so-called studio musicians.
That song has the full extent of my mandolin abilities; I'm not a good mandolin player at all.
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