"Raspberry Beret', 'Paisley Park' and the title track was amazing as well. It's a great psychedelic cover, I guess a bit like Sgt. Pepper's…. I love the flute intro on the title track and that was a big goal for the musical - to have each song have this little virtuosic moment, whether it was a harmonised guitar solo or a little flute line or some kind of piano solo. We had a rule that you had to be able to air-play some instrument on any song and if you could do that you could still be excited listening to the album 20 years down the line. It's hard doing fully contemporary music like Yeasayer, where doing something like a guitar solo always seems like a little dated or cheesy - so you want to have that variety, like a saxophone that's going through a weird pedal or being chopped up by a sampler or something, but this was pure "let's get this trumpet solo to be really haunting"."

"Me and Stevie have a really good relationship. He’s just a music making machine, he doesn’t stop. Anything he does is good. He’s got the magic ears. He’s the line from Elvis and Roy Orbison and The Beatles to the present day. His musical pedigree is the best. His dad was the bassist for Roy Orbison and he grew up with Jim Reeves around. He grew up as the son of the most badass bass player who was playing with all the big hitters. He has the most solid-roots rock pedigree, and he’s an appreciator of music. Him and his dad disagreed about stuff because the British Invasion hadn’t really hit Nashville. They thought British people were weird, funny people. Stevie was beyond that. Not only was he into The Beatles, he was into The Mothers of Invention. The freakiest most degenerate shit ever. Stevie appreciates really freaky shit. With his sounds and development and process of recording, you get a real glimpse into a different era, that’s the magic with him."