[For your latest album,] were you in the studio a long time, or did it all come together quickly?

The Happy record was really a strange process; my previous two records had went together really quickly. My last record, I wrote in two installments, so I went to Los Angeles, recorded five songs, came home and wrote another five or six or seven songs, and then went back and recorded them, so it almost felt a little bit disjointed. I mean, I know when I listen to the records, what song was at what period of time, so I can kind of feel, how different the vibe is. It was a difficult record to mix I think. The expectations; you know, getting back to the record company again; when they're not met, everybody feels wierd, because you're starting off a project where you really don't have the support of the company. I mean, they've always supported me as an artist; I have an excellent label. But they're always dealing with [things like] they're having to pay this record back, we have to pay our staff, we have to pay our promotions, so as much as they want to be supportive of everything I do, they also want to keep their jobs, so I certainly can feel for their responsibilities. But yeah, a difficult record to make, but the end result I think, everything worked out really well. I mean, I thought about the art work, and videos and from the very beginning when I started writing the songs, it was a difficult process. So maybe that shows up a little bit and it's not as up as Living Under June was, but all those things, I'm sure, lent themselves to how that record came out.