From the classical guitar right through to the furthest electrical experiments and everything in-between, it's amazing what the guitar can actually do. I mean, when one thinks about sounds.

I have a voracious appetite for all things, worldly and unworldly.

Let's just say I'm like a ship passing through storms, resting in ports now and then until it's time to continue the journey. I once told a friend, `I'm just looking for an angel with a broken wing - one that couldn't fly away.'

That's the music that I play at home all the time, Joni Mitchell. Court and Spark I love because I'd always hoped that she'd work with a band. But the main thing with Joni is that she's able to look at something that's happened to her, draw back and crystallize the whole situation, then write about it. She brings tears to my eyes, what more can I say? It's bloody eerie. I can relate so much to what she says. "Now old friends are acting strange/They shake their heads/They say I've changed."

We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.

I had another idea of getting a traveling medicine wagon with a dropdown side and traveling around England. That might sound crazy to you, but over there it's so rural you can do it. Just drop down the side and play through big battery amps and mixers and it can all be as temporary or as permanent as I want it to be.

Once I get onstage the tension explodes and I'm fine. I'm in another world - in a trance almost, doing what I love best, expressing myself through guitar.