I have been with the record company and Tommy was there doing records with other people.
I was in Redwood for almost six years. It was an acoustic trio that I still think was the best band I've ever been a part of. We do have a double CD of the Redwood stuff available called 'Lost But Not Really.' I'm very proud of the old Redwood stuff.
I've been very successful doing voices in movies. I did Olive, the Other Reindeer, with Drew Barrymore, and I did Cats and Dogs. My children came to some of the sessions.
I won't join another band again.
At midnight every night, I would methodically leave the house for a couple hours' walk, come back in, and record. And then the sun came up. If I had done something good, then I'd be happy and go to sleep.
I'd been working on new Slipknot material since the end of the 'All Hope Is Gone' tour cycle, but I ended up with so much stuff, I had to take a step back and stop working on it.
I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.
When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.
When I made Blue Moon Swamp, there was a lot of trial and error; I was trying to find people who would be simpatico with my style, and with what I had in mind for the album.
Audioslave was something that I felt had become a career decision. It became three albums over a period of years touring with a specific group of people.
Now I'm at a point where I decided I'm going to be in the studio for a while, at least until I finish this record I'm working on now. I should have two, three, four of the sessions that I had that were similar to the sessions for Peace Trail before I have a complete record.
I used to do a lot of one-off collabs, features, stuff like that.
Back when I was working with the Stones and with Joe Cocker and Neil Young and Neil Diamond and all of those - 'the boys,' I call them - it was fun.
I'm quite proud of my piano playing. Robin's never played a note on the piano at our recording sessions. I just wish I could be appreciated musically now.
We always started these albums as making demos, that went right on until Scary Monsters.
I wouldn't mind working with Queens of the Stone Age, doing some guitar stuff on that. Even Arctic Monkeys. I'd like to do be a bit of guitar with them guys. I'll play on anyone's record to be honest with you.
I grew up seeing my sister in the studio. I would go to recording sessions and take notes.
Each time I've gone to the studio, the songs have got better and I've got more confident.
I never planned on being a live performer. My whole forte was about being in the studio, producing, playing the piano on recording sessions. I was all about the studio.
Well, in the sense that we do not tour or record together anymore - then I suppose not. But if our old recordings get heard more we shall be delighted.
Once you're signed to a label you compromise.
I played on a few Frank Sinatra sessions.
Paul forced the Beatles to work a lot harder than they would have otherwise, and he did the same thing with Wings.
I used to think that all great recordings happened at about 3 A.M.
Normally the amount of music we have is what you hear on the album and that's it.
