It was a learning experience. I got to spend a lot of years really putting my feet in a lot of different places. I sang on so many records in that stretch of time in Nashville in the 80s. I don’t know how many artists’ records I’ve worked on over the years. I know it’s — well, over 400 or 500. Something like that. And not that that’s bragging, but it’s how I made a living. You know, people thought enough of what I did as a supporting cast member to be a part of those records. And in all honesty, that’s what I had really aspired to be, more than an artist even. And I said, “I don’t want to be one of those guys that their name is down there playing on the records.” Even saying it today, I would have been fine had that been my career, you know, because I didn’t have to be at the center of it to have it matter. I just had to be a part of it, and it mattered. That’s what I loved, was the democracy of making music in that it takes all of those elements that most people aren’t even aware of. And that’s fine. Some people just listen to music and they focus on the guy up there singing. But I’m listening to the bass player, and listening to the drummer, and listening to what the guitar player plays. I love every note of it. And so that’s to me what’s beautiful about collaborating with people is that all the notes are equal, and it takes all those notes to make something great.