Record making today is so different from what it was back then. What do you miss about those days? The pace? The studios?
“Well, it is different today – that’s for sure. I like the technology that we’ve got now because it gives you so much ability. For instance, we couldn’t have made this record back then with no money. The couple of times that we had tracking sessions, we went into Groove Masters, but that was grocery money. And if my son hadn’t had a studio – he converted his garage into a high-grade studio – if he hadn’t had Pro Tools or Logic… I think we used Logic ‘cause we’re Apple guys… we couldn’t have made the record. I couldn’t pay for a studio.
“Also, I didn’t want to have a borrow money from a record company, which is essentially what you used to do. They would operate like a bank: They would advance you the money and then charge you 300 percent interest. We didn’t want to go that route. I can’t believe I pulled it off. When we finished, we looked at each other and said, ‘Wow, we did it – and it sounds fantastic!’”
How did you come to use Mark Knopfler on What’s Broken?
“You know, it’s the generosity of friends. A good friend of mine, Adolfo Galli, is a promoter in Italy – the best one, actually. He also promotes Mark there. So he said to Mark’s manager [in Italian accent], ‘You know, this David Crosby, he’s good. I think it would be good for him and Mark to make some music together.’ I spoke to the manager, who told me that Mark didn’t really do this kind of thing, recording with other people. But I said, ‘Can I just send a song, just to see how Mark feels about it? Because I would be so honored to be able to make music with him – ‘cause I love him!’”