Linda didn’t have much to do in the studio, she just took care of the kids. The kids were there all the time, every day. They brought the whole family every day to the studio and they stayed no matter how long Paul stayed. If he was there at four o’clock in the morning, everybody stayed. I thought to a certain degree, it was distracting. It was a nice, loose atmosphere, but distracting. I really don’t know what Linda did in the studio aside from just sit there and make her comments on what she thought was good and what she thought was bad. She sang all right. I heard some of the things she sang on the album and she sings fine, like any girl that worked in a High School glee club. She can hold a note and sing background. Paul gives her a note and says, ‘Here Linda, you sing this and I’m going to sing this,’ and she does… There’s one track, which is a cute thing, a blues tune, which I think has a pretty unique sound and I had fun doing ‘3 Legs’. Paul likes to double track a lot of things. We both played acoustic on some tracks and then tripled. Sometimes Paul played piano but he never played bass while we were there. He overdubbed the bass. It was a little weird, because bass, drums and guitar would have been more comfortable, but that’s the way he works … Working with Paul was fun, in as much as it was good to see how he works and where he’s coming from. But as a musician, it wasn’t fun, because it wasn’t challenging or anything like that. But it was very good. Paul is definitely a songwriter, not a musician, but he writes beautiful songs. In the studio he’s incredibly prompt and businesslike. No smoking pot, no drinks, or carrying on, nothing. Just straight-ahead. He came in at nine in the morning. We were all there and we would listen to what we had done before so that it would get us psyched ready to do the day’s work, then we went into the studio and it was eight hours of just playing. He’s not a very loose cat, not eccentric in any way at all. Very much of a family man. He just wants to make good music.
