“I try to find little things that you can do to move the song along and things that serve the song.”

Fortunately, as we all know, it’s impossible for anybody but Jimmy Smith to really sound like Jimmy Smith.

I think we’ve always been better live.

Sometimes you work with somebody you’ve never heard of because you just feel like working.

I think I drift toward sad love songs.

I’m playing 10 feet from Mike Campbell every night. I look across the stage, there’s Howie. Tom’s in the middle and we’re playing all this stuff I love. It’s great.

If you call attention to yourself at the expense of the song, that’s the cardinal sin.

We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.

Jeff Lynne is an arranger, and I think it’s probably much easier for him to go ahead and play a part himself than to try to show somebody else what he wants. But it’s hard for me to say; I barely know Jeff.

I got to play on a couple of records with the Rolling Stones, and that was really special to me.

Working with Waylon Jennings and Willie Nelson takes you up another level.

You can go crazy and play solos in the right place, and that’s great because it can intensify and bring an emotional lift. But the thing is you don’t want to get in the way of the song.

I loved working with Bob Dylan.

In the United States businessmen often do not trust their colleagues.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work.

Movie directors, or should I say people who create things, are very greedy and they can never be satisfied… That’s why they can keep on working.

The logs of wood which move down the river together Are driven apart by every wave.

Americans make money by playing `money games,’ namely mergers, acquisitions, by simply moving money back and forth … instead of creating and producing goods with some actual value.

If we don’t keep people engaged, we’re not going to move you. And if we move you, we’ve done something useful. That’s what anybody who writes genre knows.

Money is part of how we move through the world, what stores and restaurants we go into, whether we take a train to the airport or a taxi. Describing characters living in the real world requires describing them engaging with money.

The loneliness is when you pick up and move, even if you are not originally from that place, and you have some memories that you want to embrace.