“She does have a life. She’d kill me if I talked about it, so I’m not going to talk about it. There’s a difference between being a private person and a recluse. All this blushed and flushed stuff about her being a recluse put it to bed, for God’s sake. It does bug me because I feel very protective about her. I know the amount of work she puts into it.”

“Enya is great fun, she’s not a dowdy person by any means. It sounds like she’s aloof because she’s just not available. She’s a private individual. I respect that, and that’s the end of it.””

“Enya never writes a bad melody. That’s first and foremost her secret. As she goes along, she’ll start changing the dynamics, pushing here and there so that not everything is perfectly in unison. It adds a texture you can acquire only from having different voices. The variations lead to interesting quirks. It’s an integral part of the Enya sound.”

“It’s a magic triangle of three cultures coming together. We never ask anyone else’s opinion. That’s important, because you’d crack the triangle. We’re only human and we get a bit touchy. When there’s any doubt, we press the erase button. It might seem terrible to wipe out 500 vocals, but it’s far better to make a fresh start than to be too dependent on the hard work you’ve done. Our rule is: Get rid of it.”

“Enya knew nothing about recording, about production or arrangements. Originally, we were stock-piling music and just letting her get on with it. There was no name on the music she was writing. All I knew was that hard work succeeded.”