Jakob Dylan Quotes

I haven't changed, but I know I ain't the same.

I see myself as a traditionalist ... I like traditional things. I like things of substance and value that have been proven. Conceptually, as the songs started to come together, I followed that lead, which is the language I work in.

Tolerance can lead to learning something.

I think there's always been hope in my songs, no matter how they've first appeared. I think there's always been a shred of hope in everything I've written 'cause I like that balance.

We've all had that experience where we hear a song that we've liked for many years, and we finally hear what the writer tells us what it's about, and you're often disappointed.

You might have a favorite band and really dislike one of the records. That's fine.

Some people just can't get over their own hang-ups to listen to my music.

I'm not somebody who carries around a notepad and writes songs all day long. I don't imagine everything I think of is worth being in a song. So I tend to collect notes, and I set time aside to go to work and write songs.

There's only one thing that's certainAnd that's everybody, everybody's hurting

If people want to talk about Bob Dylan, I can talk about that. But my dad belongs to me and four other people exclusively. I'm very protective of that. And telling people whether he was affectionate is telling people a lot. It has so little to do with me. I come up against a wall.

I'm in an area where I want to make music that I'm thrilled with, but, you know, I do have to worry about putting food on the table. I'm in that position where I cannot always be gauging what things might become. I have to look ahead, because I'm cautious.

When you're in the middle of writing a song, you can come up with this whole web of stuff only you know how to get through. That's very entertaining for me to do that.

But there's got to be an opening somewhere here in front of me. Through this maze of ugliness and greed.

I've got a life that really matters to me, and that's because of the way I was raised. My ethics are high because my parents did a great job.

I do like a song that can look good on a page without even being sung. I edit and edit and edit.

I don't like to sing things that just sound like they're going straight down the tubes, and they're circling the drain, and there's no hope. It doesn't feel good in any way to sing.

There's only so many things to sing about, so what's going to make a song appeal to you more than someone else's is just a unique way of saying the same thing.

The trouble, dollIs not moving mountains, butDigging the ground that you're on

I do look at songwriting as a lot of work. I don't over-intellectualize music as a special medium that only some people deserve to do. I think it's something you do if you put the work in.

When I listen back to my music and everyone else that's out there, I'm aware that there's something I can do that the next guy doesn't do.

To us, there was Bob Dylan, and there was dad. As for what he meant to other people, that was never glorified in our house. There were no accolades there, no gold records.

Writing songs is a trade like anything else.

A guilty conscience means at least you have one.

It's a little gross to put yourself in every song. I mean, how interesting do people really think you are?

I'm a very upbeat, positive, optimistic type of person.

Every song you write you think is the last one you're going to manage. You put everything you've got into the song, and you've twisted it and pulled at it and dug in and found a way to complete it. To get another one is the trick.

If I'm judged against my peers, rather than anyone else we could both think of, then I reckon I deserve to make records.

It's been said that I formed The Wallflowers to hide my name but, really, I've always wanted to be in a band - right from the day my friends and I soundproofed a garage with bed-covers for our first rehearsal.