Well actually, we are working on the live album from the shows in Japan. I'm trying to get that finished.
But I'm always trying to plan ahead too and in doing so, and in working on this album, I've met a lot people that I hope to be involved with, on their records and in their situations.
I think that, whatever happens, I'm just happy I've written those songs and I've made an album. That's really big for me, and I'm proud of that.
I'm very sassy. I want to show people in my album I'm not like my characters on TV.
At some point, I'd like to make a record that's more of a self-serving guitar album, because I really love to play. It's not really something I'd expect a whole lot of people to buy, though.
When I wrote those first songs for the Truckers, songs like 'Outfit' and 'Decoration Day,' those were strong songs, very strong songs. But had I been in the position of writing an entire album at that point in time, I don't think the whole album would have been of that kind of quality.
Issues deals with the issues I had, the fears I had and it isn't a 'nice' album but fears and depressions are not particularly nice.
For each album, I let the music that I love at that point in my life be my guide.
When I did the album for 'When Harry Met Sally,' I found myself out there in front of this big band, which I had no idea how to do, and they wiped the floor with me. It's a very specific skill, and I didn't know how to do it.
There's an album by Antonio Carlos Jobim - the album with 'The Girl From Ipanema.' That's the most seductive music ever.
Ziggy Marley is the third generation of Marleys I know. I knew his grandmother and his dad - I did a children's album with his grandmother. They're like family.
My third album, that will definitely be about this little girl and the process of watching your wife get pregnant. It's crazy.
The fact that 'Honey, I'm Good' made such a splash and that people were catching it on radio, on Spotify, on Pandora, it's driving everybody to go hear the album.
I had my whole life to write a bunch of crappy songs and then play them in front of people and think, 'All right, that one out of these seven is really good; it's a keeper.' But on this second album, to be honest, I probably wrote about 50 songs where I was just trying to write a hit.
The first album was more born from busking - they were the 'me-and-my-guitar' songs. Going out on the road and opening for big acts changes you. You look out at those audiences and start to think, 'OK, I need to write some music that's a little bit bigger.'
Album 1 is proving that you're worth listening to, album 2 is proving that it wasn't a fluke, and album 3 is the most authentic thing I've ever done.
Kids just want to have one song. They don't care about a body of work; they don't even care about a whole album - they just want whatever's hot right now. They download that song, and that's it.
My first album came out in 1979.
Nothing is more frustrating to me than putting a song on an album and regret putting it on there. I'm excited that there are no songs on 'Tailgates & Tanlines' that I'm iffy about.
My path is exactly where I want it to be. I'm doing my thing. I'm getting better with every album.