My parents were not affluent people and were not - didn't come from the extremities of education. My mother had a high school diploma. I often think I so wish she'd come out of the hills in Appalachia and been able to go on to college. I think she would have made a wonderful teacher.
My music is very personal. I've created it in solitude. I face a white wall and beller. I like that sound - the expression of loneliness. That's what it's all about.
I can't escape being born in Pike County, Kentucky, grandson of a miner, Luther Tibbs, and his wife, Earlene, and traveling as a child up and down Route 23 between Kentucky and Columbus, Ohio, where I was raised, experiencing life via working-class people. Nor do I want to escape.
It varies from song to song, although Buck Owens and I recently collaborated on writing a duet together and am looking forward with a great deal of anticipation to recording that track for the new studio album.
I am probably the last of a generation able to gain an education in country music by osmosis, by sitting in a '64 Ford banging the buttons on the radio.
In the past 3-4 years I've developed a habit of keeping numerous small cassette recorders in my house and in a bag with me so that I'm able to commit to tape memory song ideas on a constant basis.
I played music and sang from my earliest memories. The first pictures of me show me wandering around with a guitar that was larger than I was, and it became almost second nature to me.
In addition, I'm finishing a track for the movie 'Waking Up In Reno', but there are numerous other singers I look forward to recording with in the near future.
When I was in junior high, a foreign-history teacher started a theater class. So I got my feet wet there and through high school, so I was very fascinated with acting as a means of expression.
To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.
But that is a valid, continuing service that that music - which is, in some cases, 80 or 90 years old - is rendering. And proving its own timelessness.
'm really proud of it. To me, it's a movie about character behavior and the pecking order of the pack, as well as the central character's massive survival guilt.
Quality is timeless: It will clearly define itself. And so I make reference to and acknowledge things that I feel have been dismissed, trying to restate those musical and cultural elements clearly and vehemently.
I think actors are at the mercy of the opportunities presented to them. So you kind of have to wait for them to choose you. My music is insular - I can choose that.
It became a metaphor for the lives of the people in this film and for the Old West, for the abandonment that occurred in the early part of the 20th century.
At the end of the film Val suggests there may be a way to rejoin the living, when he says, 'Let's see if we're able to live among the living, walk among the living.'
A voice expressing emotion in a musical way moves on. It's like the finale of the movie 2001: A Space Odyssey (1968) - the world turns in on itself, as a universe unto itself, in the shape of one human being.
The actual work of recording a record or making a film just requires that you consciously block the time out to do that and nothing else. That's what I do.
I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.
Fortunately any of the songs we've recorded can be extremely fulfilling to perform depending on the variety of circumstances that surround any given show.