![]() It had that kind of vibe, whatever that is. I decided it would be kind of spiritual folk music. ![]() I think I might've said at the time that that record, the kind of tracks that he did, it took me a while to figure out what kind of words and music were going to go with the music he'd done. I was going to leave his stuff alone with the assumption that he was going to let me do whatever I wanted with the melodies and the singing and the words and that kind of thing, which is the way it worked out. I might loop a section, I might repeat a verse, cut and paste and just repeat a verse, but I'm not going to mess with rerecording his stuff or have a bunch of other musicians and myself replay stuff or anything like that. We had this implicit agreement that I would not touch his tracks. I'd sat with them for many, many months because I said, "Let me have a go and see if I can write something over these, a melody and words and sing something." It took me a long, long time, and then, eventually, I came on something, the song that became "One Fine Day," which, interestingly enough, is one of the songs on the American Utopia show. He had a bunch of tracks, and they weren't done, but they were pretty fleshed out. I remember that Everything That Happens record, that was a collaboration with Brian Eno, and it was one where the lines of collaboration were pretty well-drawn. ![]() This is kind of a holdover from the age of the album. After you've drained that, each record starts to be about a particular time and place or idea, so that this record feels like this or says it's about this and this one's about that and each one has a different thing to say. I feel like, as with a lot of artists, bands, whatever, the first few records tends to be just collected material that you've accumulated.
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