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That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

I just want to work with the big people and the people who make great music.

I wanted to make the soundtrack of people's lives.

Music is organized sound.

There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.

We spent a month in LA using a pool of musicians, a string arranger called Benjamin Wright, some great backing singers, and it gave tracks like Dynamite, which was written there, that kind of flavour.

All the people I hung out with were musicians.

The people need to feel the music.

Being on 'Nashville' and working with some incredible people like T-Bone Burnett and Buddy Miller - so many wonderful, incredible musicians that I've been blessed to play with and observe - that has continued to shape the process of arranging music, writing music.

But I remember feeling as a producer I felt like the guy who called the caterer and got the band; I had to work the party while everybody else was having a good time.