When you're working with vibes the music comes right in. The blend is perfect. So to me it was never a mismatch. It was actually pretty complementary.

When you're working with vibes the music comes right in. The blend is perfect. So to me it was never a mismatch. It was actually pretty complementary.

When I heard We Are the World do a techno version of one of my songs, I didn't know the word techno, but I said, "That percussion is astounding, will you help me do a piece?" Nobody said, "Techno isn't allowed for you."

I love to work with Julia [Holter] because our voices have a similar timbre, and she's very unique. She finds very avant-garde harmonies that I adore.

Love was really a high priority. You could drive up this road and there'd be open doors. You could actually walk in as a stranger and they'd invite you for a meal.

My two young producers, Fernando Perdomo and Chris Price, had to explain to me that there's a division right now between the two sides. They took three living, breathing percussionists to do the beats on the song "Intensity". We've got all kinds of layers, because I kept saying we didn't get all the beats. If you hear a synth, it's because I put my foot down. But I had to fight for it because they wanted it all totally organic.

If it works for the piece of music, I'm going to use it. I don't want to be limited any more than [Bob] Dylan wanted to be limited by not using an electric guitar.