My songs get to a stage where they resist any further change, you know? And that's kind of where they are, short of re-recording or starting again. That's kind of where it's gonna be.

I used to listen to so much doo-wop, and I've talked a lot about gospel music, but I realised a lot of that language came from doo-wop music. You know, "I Asked the Lord Above," "Heaven Sent Me an Angel." That's rock-'n-roll, and that's where a lot of this language is coming from. Also, I've said before that as soon as you start having a conversation with Jesus in a song you know you're dealing with issues of morality and how fragile it is to be human. It's a shortcut to putting those ideas across.

Sometimes it's easier to make decisions when you know that you've tried things that are so wrong, you know, "OK, I don't go that way with it. I don't go this way with it." The way I work, I kind of have to go down all those wrong paths to know that the one I'm doing really is the one that is going to work.

I've said the line about Ray Charles a million times, but nobody listens to him singing "I Can't Stop Loving You" and wonders who Ray can't stop loving. They apply that to their own lives. That will happen with my songs.

My songs get to a stage where they resist any further change, you know? And that's kind of where they are, short of re-recording or starting again. That's kind of where it's gonna be.

I'm obsessed with the science of music. I'm obsessed with the way you can string notes together and they can do something, and you play the same notes in another way and they do nothing. How the essence within songs - within words, within lyrics - finds its place.

You know, I'm unable to make those records where you just go in a studio and that's it. I think you can capture so much more on a record than just a particular performance on one day.