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The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement. There is a certain grandeur.

'Dark Side of the Moon' was one of my father's favorite records, which I obviously didn't understand when I was young. To be honest, I don't really have too many memories of hearing it, but I definitely have memories of the cover.

'In Utero' was the first time I'd made an album that reached into the dark side. I remember the conflict and the uncertainty. I remember all those things when I hear 'Pennyroyal Tea.'

With this new album, I prepared for it a long time, and I was happy with the songs and the production. I felt that I proved myself with the first album, and with this new album, I just want to share some of my music. And that was always my feeling and my intention.

The first album I bought with my own money was 'A Hard Day's Night.'

I've got a good memory. Sometimes it's a curse. I remember what the light was like in the room the first time I heard Van Morrison's 'Moondance.'

The fourth album encapsulated some remarkable music that was really groundbreaking. We were able to have something like 'When the Levee Breaks,' which, sonically, was very menacing. But then you had the flip side: something like 'Going to California,' which is really intimate.

But when you hear the complete album, it gets dark, really straight-up rock, with some really intimate moments with just me and the piano. It's not completely me because there are parts of me that aren't on that song, that are on the album.

The first album is a classic record and I think the prototype of a sound that no one else does.

And then the last album, 'Get It', was done over a shorter period of time and I started using other musicians, as opposed to playing all the instruments myself like I did on the other two.