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I just don't think I'm equipped to soundtrack the times. There might be someone out there who can do that, but I haven't cracked it.

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

When I started 'Record Collection,' I had no idea that it would come out sounding the way that it did, and that's one of the best things about the creative process, taking turns with the things you didn't know.

I remember rehearsing it, and it was the one that we were really excited about and thought would sound the best, and once it was down on tape, it was like, This doesn't actually sound that good.

There are a lot of producers who basically have their sound, and if the artist works with them, you almost know what the record's going to sound like before it comes out.

A montage is incredibly challenging. When I can, I'd like to know what the music is going to be ahead of time because that will affect the beat, the pace of the montage.

You can get so many sounds out of one record. Every record can be used in some way.

I can remember the first time I ever recorded my vocals on to a beat. Cat Coore from Third World - a legendary Jamaican band - had a little demo set up at his house. I'm very good friends with his eldest son, Shiah, who plays with me now. So we were rhyming over a track by the dancehall artist Peter Metro. I've still got it somewhere.

Beyond the Thunder is the closest I've recorded to an acoustic thing.