When I first started making music, it was learning other peoples songs and putting them onto four-track. Like Beatles songs and stuff. When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas.

I just want the songs to have the staying power as my favorite songs. If you listen to any Hank Williams song, when you're in a good mood, it's going to put you in a better mood. If you happen to be bummed-out, you're going to feel maybe a little more bummed-out and better at the same time. At any time in my life, his music has had meaning and value to me. If a song can shape-shift in that way, that's a sign of success.

There's at least one fist bump every interview.

The way that I'm working now is basically the way I've been working since I was a kid: Find the greatest artist in whatever you do, and rip them off with respect. I think there's a big difference between ripping off with respect and ripping off in disrespect.

I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.

I believe in working with songs that have personal value for me.

My favorite recordings are the ones that feel like there were no middlemen in the creation. That's the biggest problem with most films and records being made today - too many people involved. I think it dilutes the artist's intent and inspiration.