Sometimes the fragment of a conversation, the color of the sky, the image in a dream, has everything to do with where the song begins.
When my dad died a lot of songs came, and they're still coming.
I dream of songs. I dream they fall down through the centuries, from my distant ancestors, and come to me. I dream of lullabies and sea shanties and keening cries and rhythms and stories and backbeats.
I'm a songwriter. My voice just serves what I'm writing about. So to let all that go, I mean, bring the sensibilities of it actually to the song choices, but to just be the interpreter was incredibly liberating and really fun.
When I was 18 years old, I went on the road with my dad after I graduated from high school. And we were riding on the tour bus one day, kind of rolling through the South, and he mentioned a song. We started talking about songs, and he mentioned one, and I said I don't know that one. And he mentioned another. I said I don't know that one either, Dad, and he became very alarmed that I didn't know what he considered my own musical genealogy.
Celtic music is part of the language in Scotland and Ireland, where every kid and grandparent knows those songs, music by the likes of Woody Guthrie and Hank Snow is getting entrenched here. They are part of our cultural language. It's part of a living treasure. It doesn't just belong to a museum.
My dad [Johnny Cash] went to the [Richard] Nixon White House and refused to sing "Welfare Cadillac" (instead performing the anti-war songs "The Ballad of Ira Hayes" and "Man in Black"). He protested the Vietnam War, but he went to perform for the troops with bombs dropping all around him. He had that kind of genius: a true artist's capacity for holding two opposing thoughts at once while being large enough to encompass all realities.
I found it was really impossible for me to write songs when I couldn't sing.
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