"As an artist, I don’t like being able to be seen…If you’re having difficulty getting a part, it adds to the tension when the assistant engineer, engineer, producer and producer’s wife are hanging out. With the School-house, my engineer’s in the control room, and I could be doing vocals while stretching my T-shirt over my head and it wouldn’t matter. Everyone who’s worked here has gotten used to this nonvisual communication and actually found it to be advantageous. That’s what home studios are about — that funky thing."

“...People get confused because they want the boxes your talent comes in to be always the same shape and the same colour. If you don't do that then people lose track of who you are. They say 'Oh, he doesn't know himself'. But I know who I am. The energy is the same, the expression is the same and the work diligence is the same. Always. It's just that sometimes it all comes in different boxes and different colours. It may be weird to some people but it surely doesn't bother me.”

“It seemed to be a natural period when I wanted to stop doing pop records; it came with a falling-out between my record company and me...There was a hole in my career. Instead of a valley, it became a peak to me. I decided I was going to do something that I hadn’t really had time to do.”

“Sure. It does lean more towards the industry standard rather than towards my roots. But I meant it to be that way for a reason. To begin with this is my first album in about three years and my first for a new label. So I wanted the album to have the same basic listenability throughout and I wanted the record company to feel that they could hear four or five potential singles on it. Tracks that would work on the radio. Because that was what I was aiming for, I had to make sure that each song would capture an exact feeling which would get across to the most number of people. I always like to make records like that. I hate records where all the musicians or the artiste are really saying is 'Dig Me!' You can lose a lot of your potential audience by making self-indulgent statements. Unless, of course, you're so neat and groovy that people say 'Wow Man! Come All Over Me!'. Now I think I am pretty neat and groovy, but I prefer to make the sort of records which will make people think about themselves, not about me. Pop music shouldn't really express the innermost thoughts of the artiste as much as giving the listeners a feeling of exuberance or pain or power or whatever. To give them a sense of their own selves. Once you start making music with that sort of end in mind, you realise that you have to make it less jagged and more compartmentalised. And so the reason I Can Dream About You sounds maybe as Industry Standard as it does is because it was designed to get through to as many different sorts of people as possible. And that isn't necessarily a negative factor.”

“I realize all you need to do is do it. I think we all restrict ourselves in our lives from doing things. We have choices and alternatives.”

“I have a bit of anger about some things going on in the world that I know I want to sing about. I’ve never done that on a solo album before; they’ve been mostly about romance and relationships…The concept is Dan Hartman, so whatever’s happening to me when I begin to put out the feelings will be what the album is about. Whether I’m in love, out of love, or the next plane blows up…whatever, I just want to stay creative and hopefully keep people thinking and feeling…At least feel something.”

“When you get into the areas of eroticism, politics, and belligerency, you have to be careful. Some of it will get out. Both Charlie and I have slanted minds. If “Relax” or “Sugar Walls" can be hits, there is a place for that kind of stuff, too. It's fun and interesting to write about that. Or with politics: Third World people own the bomb. That's probably where the nuclear war will start. They have nothing to lose. You can write about that. It'll be just another record from a romantic cynic.”