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It's so funny because I listen to songs that I recorded that I didn't really know anything about at the time. Later on I'm starting to feel the songs. Sing them first, feel them later.

The thing I try to do the most is to play in terms of the song and play in terms of what I'm hearing.

I just sat down and thought, I'm going to write a song today, I'm going to give it a try. So I just stuck it on a tape like everything else. That was just another song.

I was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.

I'm always imagining some sort of story behind the song, even the ones I haven't written. I'm actively engaging in playacting.

What I've learned how to do as I've gotten older is to take all of the information that I have, and push it aside, and try to distill each song into an emotional theme. The hardest thing that I've ever had to learn how to do in playing music is use the sound of my instrument to create an emotional effect.

I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.

Sometimes it works. Sometimes I feel like playing 'Hospital'. Sometimes I feel like playing 'Pablo Picasso'. I've been playing a lot lately. I do it as long as I feel like it.

After playing so many songs in churches for eight or nine years, I've learned what songs people react to. Then I just had fun with the arrangements. That's how this album came together.