Back then, Pro Tools only had four or eight tracks, so we couldn't actually hear all the tracks. We could only hear eight at a time, so if a song had 25 or 30 tracks, we wouldn't be able to hear it until we went into the studio an put it all on tape. The process was a little bit backwards.

Two men look out the same prison bars; one sees mud and the other stars.

Anything goes. You always find interesting things that way.

I enjoy recording live better, but I think by the nature of it you are going to end up with something that's a little bit more traditional.

I know my own limitations. And if somebody says, "I need songs for a cartoon garage band - they look like this and they should sound like this," it gives you a direction. I like having that kind of assignment.

Sea Change was so specific. From the beginning it was set what it was going to be. All the other ideas that I had at the time I had to put to the side.

No one should drive a hard bargain with an artist.