Argent: The thing is, that over the years I've done a lot of record production and I've had thankfully a lot of success with it. There was a European artist called Tanita Tikaram in the '90s that [was] a record that I produced. It sold $4 1/2 million, et cetera. So I've done lots of production and gone through all the techniques, but on this particular album, Breathe Out, Breathe In, we decided not to try and be incredibly retro and go back, you know? Because you can't go back. But to try and embrace some of the things which worked so well in the old days. So we decided first of all to almost have no overdubs. We had almost no overdubs on the album, which means that we can do everything live, which is great. Secondly, we decided, from my point of view, that the keyboards should be as organic as possible, so I basically just played piano or organ or electric piano on the record. Thirdly, we decided that, as much as possible, the rhythm track will be played with everybody together so that we got some real interplay and the feeling of freshness about what we were doing. So typically, even though it took longer than it did in the first place, typically this is how each track would happen: I would go to the drummer's place, prepare him by playing in the track. We would typically play as much, do the rhythm track in three hours, so it wasn't a long day session. [Recording] the rhythm track would be three hours. And then we would leave it. Then we'd have a separate day where I'd work with Colin on the lead vocal and we'd give that a lot of attention, a lot of time, 'cause we wanted to make that as good as possible, so that would take a day. But not long days — we're talking about very civilized hours. You know, like 10:00 'til 6:00 or something like that and we'd have lunch and everything. But you know, it was very fresh and easy. On the third day, we would explore harmonies and we would put all the harmonies down because we wanted to explore harmonies in the way we always used to in the old days. So we'd try to get that parameter in. And then we would, the engineer and myself would, then mix it on another day. And I mean that's four days, but they're not four long days. And in the way that stuff is done nowadays with millions of tracks, we just didn't do it like that. And so we tried to make it very much about capturing performances, just as in the old days. So we, in many ways, tried to go back to what it felt like the best of the old thing.