“We put a little For Whom The Bell Tolls in there. This was a tricky one; it’s a little subversive of what we’re doing. If you listen to the chord progressions, you’re going to hear us go from E minor to a D second to an A minor seventh. Some of these other chord progressions that For Whom The Bell Tolls doesn’t have – I’m think of C minor seventh – these are all found in Michelle.
“This is a great example of how sometimes the songs do all the work for you. My vocal pattern fits over those chord progressions. We really didn’t tweak the chords. People will hear For Whom The Bell Tolls, but when you really dig down underneath… it’s Michelle. Strip the guitar flourishes and all the other stuff out of the way, and it’s there.”