“Great drama. In rehearsals, I remember going through every patch on the amp, every pedal, trying to figure out how to play it. The studio version has a very clean ’61 Stratocaster playing these little chords, but mainly it’s three keyboards playing the chord melody that makes up the verse.
“Then it goes into a section where you have two or three guitars playing harmonies. The transition was a little odd at first – usually, I start a song with a tone and go all the way through. That’s a fun way to do a live show, not having to worry about six different pedal settings.
“Eventually, I decided to shrink my guitar sound down and not play the whole part, and that was the key. Instead of doing the full rhythmic signature of the chord melody, I played an edited version and let Mike take over that part a little bit. Suddenly, everybody grooved. It took me about two weeks to figure it out on stage, but now it’s become one of my favorites to play, because it had so much drama.”