I will write a verse or a story and bring it into a songwriting session, because that's what's big in Nashville - the collaborative part of songwriting.
Sometimes I catch myself doing something that I've already done. The more I've done, the more that's likely to happen. Then I just throw it away. I wait until I've got the right way of getting a thing done, which means my songwriting proceeds at a very slow pace. But it's the only way I can really work.
Sometimes I get drunk and I get into arguments with taxi drivers. And I get out the cab and I slam the door. That's not the way to win an argument with a taxi driver. The way to win is you get out of the cab and you leave the door open. And then he has to step out and come around and close that door. And while he's doing that, I'm on the other side opening the other doors-and we just go around and around and around, and I got my own Benny Hill situation going on in life.
In Nashville, there is a historic tendency to work the lyric to death while settling for music that works. In pop or rock, it can be the other way around.
There's a song called 'Live Blogging the Himmel Family Bris.' I kind of went for it here in terms of - it was really fun to be explaining ritual circumcision in Nashville - a lot of brises are done in hospitals, but many are done in people's homes, and there's a lot of food, and a lot of leftovers.
I've lived through a lot of dark environments one way or another while growing up and that has influenced my songwriting.
I've been songwriting for a long time, usually while on the road, as a way to get my feelings out.
For a band like me I don't really get crazy exposure with the record so sometimes it does take a while to circulate around and get out to fans.
And this should go without saying. That's why I'm going to say it: Drinking and driving don't mix. Do your drinking early in the morning and get it out of the way. Then go driving while the visibility is still good.
My album was recorded in Nashville. It used to be all about "We're from Texas, forget Nashville," well you'll never hear me say that. Nashville isn't bad as long as you're true to yourself.
In the military, there's a sense of camaraderie that can sometimes make people bystanders. There were a lot of really good men that I served with, but many of them watched me get discriminated against while looking the other way.
When somebody doesn't use common sense, I get frustrated. When I'm driving down the highway and someone is in the left-hand lane, and they're going very slow, sometimes I just go around them, and other times I'll be in the mood where I flash my lights and yell at them, like, 'What the heck are you doing? Get the heck out of my way!'
To me, songwriting is the backbone of Nashville. Looks can go, fads can go, but a good song lasts forever.
I lived in Nashville for about five years. It was almost like me going to college for my craft. I immersed myself in the songwriting community there. They embraced me, and I made some real friends but also learned so much.
I went mainstream in a major way with the song "Let's Dance." And what I found I had done was put a box around myself. It was very hard for people to see me as anything other than the person in the suit who did "Let's Dance," and it was driving me mad - because it took all my passion for experimenting away.
Typically, I spend a lot of time - mostly in the morning - kind of drifting, reading, walking down along the river, looking at photographs, or even driving around. Then, if I'm lucky, I get to work in the early afternoon, one way or another.