Everyone enjoys downtime at home, I'm sure, for various reasons, but I find the whole system of being out there and doing shows for people - the more of it you do, in fact the more energizing it is, for me individually.

Back in the day, the album was king in many ways. And, of course, we were very tied in with the birth of FM/college radio in the States, and what we were doing suited the format of those young radio stations.

Yes is what I like doing more than anything else. Somewhere along the way, as people came and went, it fell to me to kind of keep it going and oversee the spirit of the enterprise, as it were.

After awhile, you start realizing that change is good for you. It's healthy.

Over the years, there have been challenges about who can use our name. It's quite simple: A majority of people left in the band at a certain time own the name. It's not like I'm the guy who has the name under my own contract.

The flukey part of it is, back in the early days, I had that guitar decorated with all kinds of crap wallpaper, 'Flower Power' - then that got all shaved off. And during the course of cleaning the bass up again, some of the wood got shaved down, and it probably became a lighter body than the stock factory model.

Philly has always been one of our favorite towns to play in, and the fans have been very loyal and very supportive over the years.

Yes's whole career was never really planned in any sort of way. It's always sad when a member leaves, but it's exciting when someone new comes in, and that regenerates the freshness of the band.

I would work with Trevor Horn any day of the week. I have a great relationship with him.

There's always the joy of the performance and fine-tuning new interpretations. Over the years, we've all grown as musicians, so obviously there is a lot of subtlety that wasn't there in the first place.

Steve Hackett is a very underrated writer and actually a very good singer.

I can only be me. I have a hard time being a chameleon as a singer.

It is a really interesting to hear yourself on the radio. I've gotten to hear myself in different capacities. I've heard myself on Sirius XM on the bluegrass channels, and on WSM and other places.

I'm not a hustler. I don't pitch songs. I don't ask people to write with me. It's not what I do.

I think the path is different for everybody. Go after the doors that are open to you. That has always been my motto getting into the music business. Do the things that seem to be good opportunities and work hard at it. Try to make good decisions and be nice. Hopefully all of that will pay off at some point.

We have that storytelling history in country and bluegrass and old time and folk music, blues - all those things that combine to make up the genre. It was probably storytelling before it was songwriting, as far as country music is concerned. It's fun to be a part of that and tip the hat to that. You know, and keep that tradition alive.

I walked into a demo session one time, and a guy said, 'I'm thinking kind of like a Trace Adkins thing.' And I looked him right in the eye and said, 'Man, you've got the wrong guy. I'm gonna have to fire myself. You've got to hire somebody else.'

I grew up in eastern Kentucky, and we would sing in the churches, and there's lots of good mountain church singers out there. Like a lot of folks who turn out to be secular music artists, that's a lot of the training you put in, whether you know it or not.

It's such a strange marriage, a song and someone that sings it. When that works, it really works, and when it doesn't, it doesn't.

America's military allow the rest of us to do what we do.

A lot of great bluegrass comes out of Kentucky. There's a lot of great music, like the Judds, Billy Ray Cyrus, Ricky Skaggs, and Keith Whitley. There's a lot of bluegrass intertwined with country music.

Anytime that another artist or a critic that is well-respected says something nice about you, you're always thankful and hope that you can live up to that.

Whether you like modern incarnations of what country radio hits are, or you like what I'm doing, or you like something really off in folk, poetry Americana land, it's all just music, man. If you like one of them, great - go buy it.

Country music is one of those places where we support each other and prop each other up.

I don't feel like songs should be hoarded. I don't feel like one's tainted if somebody else does it. That's the mark of artistry - take a song that's maybe even a really popular song and do it your own way. I think that's cool.

The first time you listen to someone else's interpretation of what you've created, it's a little unnerving. They'll change lyrics or something almost every time. That's them being an artist, and you appreciate it more over time.

I was writing waltzes at a time when the most popular thing was Shania Twain and the very pop edge of country. I didn't really know how to do much of that.

I've always been in touring bands in some capacity.

I used to spend my money on going to Tom Petty concerts.

I had a beard way before it was fashionable.

College didn't stick, so I worked odd jobs, but I've always written songs and played music. I actually met a guy who was a songwriter, which I didn't realize was a real job.

Great musicians are great musicians, whether they're playing a trombone or an electric guitar or a xylophone.

My dad was a very straight arrow, prayed-at-every-meal kind of guy.

I'm only worried about what I'm doing or how I present music. I just try to do things I want to listen to, and I think that's what everybody else is try doing, too.

I think, at some point, all of us - I'm gonna speak personally, not for everybody else - you're gonna feel like a one-trick pony, and you might even be a one-trick pony. But at some point, if it's a really good trick, everybody's still gonna appreciate it.

I always feel that if you're going to cover a song, you should make it your own and flip it on its head.

I was born in Fayette County, over in Lexington, Kentucky, but I was raised most of my life in Paintsville.

I was in a band called the SteelDrivers, and we just played hard in vans, hopping on airplanes, not knowing where you're at.

The goal is always just to write the best song that you can write. I mean, the process for writing a song is the process for writing a song. It's not something I look at it as something I need to do something different.

I always tell people, 'The music's free. I get paid to travel.'

I moved to Nashville to be a songwriter. I found out that was a job, that someone would pay you to sit in a room with a guitar and make up songs! It is the greatest job in the world. I wrote three or four songs a day. That's what I lived for.

I like places that have history in the sense of - you feel responsible to it.

I don't look at family and what I do for a living as separate things. They're all kind of one thing, and this is part of their life just like it's part of mine.

I went to college a little bit, and that didn't work out, and I didn't finish. So, I would play in bars until I ran out of money, and then I'd get a real job.

I like songs that make me feel tough. Like 'Back in Black.' You want to hear it again and get in a fight.

I'm always trying to do as many different things as I can, just so when one is not doing so hot, maybe the other is still there.

I'm a fan of polarization. If you make something that is palatable to everybody, it's like making vanilla ice cream, and I think we have enough of that.

I just try to make the best music that I can. People are going to label it whatever they're going to label it.

I like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.

I like to put something on and want to listen to it again once I get done listening to it, not feel like I need an ear break.