As a producer, I like to bring in unexpected voices, unexpected musicians, like Watt and Joey Spampinato of NRBQ.

I remember when I was 5 or 6 years old, gospel music felt familiar, like I had heard it in the womb or something. A lot of those old gospel songs still give me that feeling, that it's older than time and there's actually music that can tap into a universal subconscious, or whatever word you want to put on it.

It was endlessly amusing to me to try to imitate John Lennon and Paul McCartney's harmonies using the guitar.

I definitely don't see myself as much of a singer, because my upbringing is really based around the guitar, learning chord progressions and that sort of thing. So the singing aspect of what I do has been a secondary adventure.

I love the sound of Elmore James, the sound early guitarists like him got just by using minimal means.

I find that the time that goes by is actually your best friend when you are making a record. The passing of time gives you perspective on what you recorded and what you wrote. If something sounds good to you 12 months after you recorded it then chances are pretty good that there's something valuable about the part or the song.

It's a hard thing to explain, but the more I arrange for strings, the more I realize the possibilities.