Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.

I rarely ever respond to misquotes and wrong information. Plus, it only serves to bring attention to the matter.

I remember that the bass was turned up slightly more on the mix from last week, and I thought that was good - or whatever. Like, there were some little things in there that he said that he came to, like, really enjoy my opinion or at least, like, my little comments on the songs. So I was kind of destined to probably be a studio rat.

I had a somewhat frenetic childhood because my mum and dad split up when I was five, and then my mum remarried.

And I remember that about three years before that, her first record had come out. And I just remember really liking this one song off it called "In My Bed" and being a little bit enamored. This, you know, this young kind of Jewish girl from North London, you know, I have the same thing - from a Jewish family from North London - with this incredible voice.

Basically, there's a good friend of mine who works at EMI Publishing, a publishing company. He had asked me - he was like, you know, do you know this girl, Amy Winehouse? She's in New York for a day. She's kind of meeting people to maybe work with on her second album.

I really love something about being around the recording studios - you know, like, those days in the '80s they'd be, like, in the studio 'til 4, 5, 6 in the morning working on these songs.