As a performer I've played for 50,000 people and I've played for 50 people and I can tell you that it is harder to play for 50 people. 50,000 people have a singular persona, not so with 50. Each person has an individual, separate identity, a world unto themselves. They can perceive things more clearly. Your honesty and how it relates to the depth of your talent is tried.

A song is like a dream, and you have to make it come true. They're like strange countries that you have to enter. You can write a song anywhere, in a railroad compartment, on a boat, on horseback -- it helps to be moving. Sometimes people who have the greatest talent for writing songs never write any because they are not moving.

I was always a singer. I always sang as a child. I was one of those kids who just liked to sing. Some children sing in choirs; others like to show off in front of the mirror. I was in the church choir and I also loved listening to singers on the radio - the BBC or Radio Luxembourg - or watching them on TV and in the movies.

I didn't have any inhibitions. I saw Elvis and Gene Vincent, and I thought, 'Well, I can do this.' And I liked doing it. It's a real buzz, even in front of 20 people, to make a complete fool of yourself. But people seemed to like it. And the thing is, if people started throwing tomatoes at me, I wouldn't have gone on with it. But they all liked it, and it always seemed to be a success, and people were shocked. I could see it in their faces.

I can do Jumpin' Jack Flash in the bath at midnight, on my head. I don't need to rehearse to do that, I really don't.

I've leaned on God for so long. "Hey, God, you just gave me this gift, and I'm just going to go out there and sing." But I'm realizing how much larger and how expansive my gift becomes when I actually pay attention to it and try to practice and try to perfect it.