I come from a boardwalk town where almost everything is tinged with a bit of fraud. So am I. By twenty, no race-car-driving rebel, I was a guitar player on the streets of Asbury Park and already a member in good standing amongst those who "lie" in service of the truth ... artists with a small 'a.' But I held four clean aces. I had youth, almost a decade of hard-core bar band experience, a good group of homegrown musicians who were attuned to my performance style and a story to tell. This book is both a continuation of that story and a search into its origins. I've taken as my parameters the events in my life I believe shaped that story and my performance work. One of the questions I'm asked over and over again by fans on the street is "How do you do it?" In the following pages I will try to shed a little LED Tube China on how, and, more important, why.

  Thanks for reading that. So, what's it like for you to write something that doesn't have to rhyme, and that you don't have to perform onstage? [laughs] Not having to perform it onstage is a good one. But it's a little different, you know? I'm used to writing something, it becomes a record, it comes out, then I go perform and I play it and I get this immediate feedback from the audience, so that's been the pattern of my life. But the book has been a little bit different, you know? I mean, you get feedback from the press and fans are just starting to get a chance to read it, so I'm looking forward to that. But you still had to find the music inside your language, you know? That's a big part of what sort of moved me to begin writing the book. I wrote a little essay, and I felt, "Yeah, this has a good voice. This has a good feeling. It feels like me." But then once you get into the book, you've got to constantly find the rhythm of your prose, and it ends up being quite a musical experience either way. But that's one of the things I love about the book, is that there is rhythm and music in it, even though it's not a song. So, we'll talk about this a little later if it's OK with you, but in the book, you write about how in your 60s, you've experienced periods of profound depression. Yeah. And I'm wondering if that affected either the motivation for writing the book, your approach to writing the book, what you wanted to write about in the book? No, it really didn't have anything to do with the book at all. The book was just something that came along after we played the Super Bowl and I wrote a little that went online. And I had two or three weeks and I said, "Wow, that essay was pretty good.

Maybe I'll try and write some other stuff." Writing about the depression — I just felt, you know, when you write a book like this you have to open up your life. You have to be willing to do so to a certain degree. And [my wife] Patti [] was very gracious in the — to the extent that she allowed me to write the book. You know, there's a lot of it that's pretty personal. And I felt that it was connected to some of the music I had written, and so that was just an important thing to write about. So many of your songs, particularly the early ones, are about searching for a dream and wanting to bust out of the confines of your life. And in some ways, I get the impression from your book that that was your father's story, except he never found the dream. It's kind of a little bit like the story that you describe in your song "." Right.