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It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing.

We're doing unusual records that sound big, have a pop feel, and we're getting better at it.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

I don't spend much time listening to the records when they're done. Usually I let go of it. Especially in the Eighties and Nineties - they were like product, almost.

I think that's the problem in a lot of music. We've got these record labels.

Modern records are all made with virtually identical gear, software plug-ins and everything. Everybody wants everything to sound like the last thing that was popular because they're chasing their tails.

I have heard some stuff that might be influenced by my records, but it's usually pretty wacky and off-the-wall, which is kind of annoying, to be frank.

Interested listeners have only to hear the recording to find out if those guys, who go to such pains to undervalue my work, are right. All people have to do is listen to realize it is a beautiful record.

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

All of my style came from listening to records.