"I Wish It Could Be Christmas Every Day," which I actually recorded on "Quality Street" because I don't think anyone has ever covered it before. You hear it every single Christmas, and it is a great record. That's by Wizzard. It is a really great record, but I don't think anyone's ever covered it before, so I had to go it doing it differently. It's quite different from how the original goes.

I'm very fussy about how my records sound, but I'm very aware that because of the way they sound, I will never be a big-selling, mainstream artist because the public has gotten conditioned to hearing pop music in a certain way. And I don't do it that way.

I used to sort of take the phone off the hook, you know, put my feet up and watch the TV until it was all over.

I think the best songs that come to me are ones that you sort of listen for. The ones - when I listen to some of my old stuff, I can tell when I had a good idea, but I forced it through, and I can hear myself - the bit that I've written, which sounds clunkier than the stuff that just sort of comes.

You've got to really know your song, inside and out.

I sort of have various sort of theories when people ask me about songwriting because it is a mystery. You don't really know. Sometimes you can do it and sometimes you can't. It's really peculiar.

The older I get, there doesn't seem to be anything remotely more interesting than talking about love and the lack of it and what happens when it's taken away from someone who's had it.