Of all liars the most arrogant are biographers: those who would have us believe, having surveyed a few boxes full of letters, diaries, bank statements and photographs, that they can play at the recording angel and tell the whole truth about another human life.
I tried hard not to think about the scope or scale of making a record that would be heard by millions and millions of people. I did a pretty good job of tuning that out.
Our recordings, you feel that it's been, not labored, but you feel that it's been constructed in a way where sometimes it's hard for us to create the feeling that this was done in a room.
But I'd say recording and playing on stage are two completely different things. Being up there in front of all those people is like jumping off a cliff into icy water. The recording process is a totally different energy.
I grew up fly fishing when I was a kid. The feeling of it is fun. I went fly-fishing on Lake Delaware once, and I caught a record brook trout.
Our writing, especially during 'Boxer' - the recording process was the writing process, which is not the way I would advise anyone else to do it.
The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.
Just for the record, I personally do agree with some of the sentiments of Rabbi Meir Kahane. I think he was right about certain things, wrong about other things, but I have absolutely nothing, no association whatsoever with Kahane Chai leaders.
On the PBS recording of 'The Light in the Piazza' backstage, you get to see me doing some sweet lunges down the hallway of the Vivian Beaumont.
Man, I was scared. I didn't know what to think. All of a sudden, I got a record climbing the charts, and I'm out in the streets. You know, workin' on the docks. And the first week, it sold something like 40,000 in New Orleans.