He mentioned Morrissey in this interview:
superdeluxeedition.com
Like Adam Ant, Morrissey is another one of those characters whose reputation precedes them a little bit, but you seemed to work quite harmoniously with him. Unfortunately, there’s nothing from the album [2006’s Ringleader of the Tormentors] on this collection, but how was your experience with Morrissey?
I don’t know why we didn’t get a Morrissey track. It could be that the licence holder said no. Or maybe he’s got plans to release a ‘best of’ Morrissey. I could see that. But again, people said that he’s difficult and to work with and all that, and I remember the first day I went into the studio with him and I went in cold. I didn’t have any pre-production.
He’d had a producer already on that album, whom he sacked. And so, I inherited the backing tracks; we didn’t cut new tracks. And I started out with overdubbing guitars and building up the production and he was very bemused by it. He wouldn’t say much; he would sit in a studio and ponder everything that was going down, and he was just thinking very strongly about things. If he had something to say he’d say it in a very nice, soft spoken voice, but he never opposed me on anything. And the funniest time was when we came to doing the lead vocals. We waited until the very end, most of the band is left and he’s front of a microphone, and he said, “Now I only want you to tell me two things, whether I should sing louder or quieter”. He didn’t want to be coached. So by take one, or two, or three, I just said, “I think you could do another one, for me” and he said, “Why?” And I said something like, “Maybe you could give me one with little more energy, just to give me an alternative. So if I do a composite of your voice, I’ll have a few options. You never know, you might, sing a gem, something that’s really great that you haven’t done already”. And when I put it to him like that way, he was agreeable. I think a lot of producers really don’t know how to talk to artists, and he must have had a bad experience. The reason why I think I communicate well, with artists, including the most difficult ones, is because I had a musical career. And I thought record producers were horrible people. I was spoken to in the rudest manner, by some record producers, when I was sitting there playing guitar and singing and stuff like that, back in New York. And I vowed never ever to treat it artists like that. I think that’s why I’ve got a lot of respect from the people I’ve worked with. And there are testimonies in this box that book from people I work with. They’re confirming that I’m a cool guy to work with [laughs].
