learned a lot of life lessons mostly. I mean, [Willie Nelson] works very quickly and it was very spare. We didn’t see him a lot, because the sessions were over a couple of different months. And also when it came up that it was something we were going to do, I was adamant that if The Cardinals were going to back him up, I would have to produce so we wouldn't have to worry about someone interfering with our sound. So they agreed to let it go down the way it went down in the studio, and I put some limits on what was going to happen in order to keep the integrity of the recording. It reminded me kind of how Jack and Meg White work, the way that their limits make them seem stronger and more able to be resourceful and economical. In thinking about that, I wanted everyone to set up in the room around Willie, with only [drummer] Brad [Pemberton] wearing headphones, and everyone using ratty old amps so that the main thing everyone heard was Willie’s voice and guitar. It was cool because it made everyone listen really hard, and I think it enabled Willie to throw the band a little more, and suck them in. It turned into a real healthy struggle. But other than that we didn’t see a lot of him because I think he was pressed for time, and maybe recording in New York was a little overwhelming for him. It was just a different process. I think he's used to coming in with the track already done and just singing over it." [9]
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