l'd been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there's bound to be something else. I could hear it sometimes but I couldn't play it. ... I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.

I had these ideas, which propelled some of the songwriting, that I was moving to a different place with. I thought it would be more change. I thought, “Maybe I’ll call him,” or whatever, which I haven’t done. But it was really important to me. These were the songs that were going to exist in this time. I wanted to be performing songs that meant something emotionally to me, and it would be this vulnerability that is liberating and also necessary.