You come off the kind of commercial success that 'Rumours' had, and you see that there are limitations to that as well as freedoms.
Some days I would be there at ten in the morning and wouldn't leave till ten at night, and the others would waltz in for a couple of hours and then leave, because I was doing that painting thing. And they were happy to see that being done.
Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87.
If you look at the whole time I was in the band, I only did, like, three solo albums - two, really. 'Out Of The Cradle,' I had already left because we'd done 'Tango In The Night,' and it was sort of the logical extension of crazy in terms of everyone getting ready to hit the wall with their habits.
Even though I had pushed through the Tango album, it was just not a very good environment to be in on a daily basis. In many ways, this is the best time of my life.
Studio D has a lot of symbolism for me.
