You're laughing at everything that's bringing me down.

Creativity is much better when it's free. Someone can take it and sell it if that's what it needs, and from that standpoint, you have to have a label. If you could make your music and just give it away and somehow make a living - that would be the best scenario.

So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio.

I'm not in for killing another man, defending my holy land, as if there's a god who would understand.

I wanted Kimi to be a Japanese record with a Japanese title. I wanted it to be for them. They appreciate things on a different level, and take their art very seriously - that's special if you're an artist.

He wanted to play accordion on something of mine and I said you can play accordion, but I want you to play piano and organ on some stuff. He came over a couple times a week for two weeks and gave me therapy as to whether I should do The Thorns or not.

When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.

The summer of 2002 at the Wilson birthday party I met Van Dyke again and I made plans to have dinner with him.

The openness of rural Nebraska certainly influenced me. That openness, in a way, fosters the imagination. But growing up, Lincoln wasn't a small town. It was a college town. It had record stores and was a liberal place.

I believe in nature instead of God.

It wasn't so much that I had to leave to make it in the music business as I was curious to be out on my own and sort of explore. I never felt that where I was ever influenced my songwriting.

Girlfriend and 100 Percent Fun were my two peeks, around '92 and '96. The reality is that the times I had the most media success, sold lots of records and played bigger shows, I had the least control of my own life.

It became a question of do I want to be on a label where it could take three years to put out a record instead of putting out three records over the same period of time on my own.