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.

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.

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.

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.

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 just remember there was one rule: If you've got faults, we expect you to be working on it. And we are here for you. People would welcome each other then. We don't do that anymore. We don't care.