"Brian also had me move certain things. In 'Bohemian,' when it cuts to the opera section, I originally put the piano in the rear for those quarter notes: da da da da, da da da da. Everything went to black except there. But Brian said, 'Can we bring it out to the front a little?' So I did - and it just doesn't have the same impact for me. I thought my version was good because it drew your attention, it did something different, it wasn't ordinary. But that's my opinion. Brian's the artist. His name's on that record, not mine."
However, Scheiner wasn't afraid to hold his ground when he believed it was necessary. "Well, 'The Prophet's Song' took forever, and at some point, I couldn't take it anymore. I went through a period of 'whatever you want is fine with me.' Then I realized, that's not right. I said to Brian, 'I'm really unhappy because I've let you take control, and I have no more input, and I feel we've made mistakes.' He said, 'Oh, man, tell me.' And he was absolutely open to it. I had risked ruining the relationship, because I wasn't pleasant about it - and I felt terrible afterward, apologizing for my attitude. But I felt I had to say something, and he was very appreciative of that."
