I never liked the showboat guys who called attention to themselves, who turned the Leslie on and waved their hands up in the air.

There was a period when I wrote in Nashville for Maverick and then Warner/Chappell, and it was interesting.

We've had producers who've all shared at least one thing. They've all recognized that Tom and Mike write great songs and that's what it's about.

I think we've always been better live.

I loved working with Bob Dylan.

With U2, I got to see how another band worked, and you get to try to listen like they listen because you want to fit into their songs.

You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.

The people that call me to play on records call me because they think that I will suit their music. And the people whose music I suit are by and large people that I'm a fan of.

I'm not an overly skilled piano player or organ player at all, but I think I'm the right piano and organ player for the Heartbreakers. And I've been the right piano and organ player for a lot of sessions that I've been called on.

I learned to play piano in a rock n' roll context or band context from country records - you know, Floyd Cramer - and from the Beatles and the Rolling Stones and Stax. And none of those are keyboard records.