What was it like to work with Nick Rhodes as a producer on Welcome to the Monkey House?
I didn’t work with Nick Rhodes! [laughs] I mean, I know him, and I know Simon a little bit, but I had so much recording left to do when the rest of the guys went [to the UK] that I just kept tracking, sending new tracks over; they’d send me mixes of things, and I’d say, “No, no, no, check out that song three mixes before, it was way better!” I didn’t think I was missing out at the time, honestly, because I was so excited to be having so much to do, and having so many ideas in the studio. Then I was asked so many times what it was like to work with Nick Rhodes, I eventually gave up and started saying, “It was great!” and just leaving it at that [laughs]…. Sorry to be contributing to your anguish by asking you yet again… [laughs] No, it’s totally fine. It was a really good time to be in the studio. I had carte blanche: I could record for as long as I wanted, lay down as many keyboard tracks as I wanted. Monkey House was a fun, pivotal album for me. Speaking of keyboards…At the Neumo’s
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