Then I read Little Women, and of course, like a lot of really young girls, I was very taken with Jo - Jo being the writer and the misfit.

I came into music because I thought the presentation of poetry wasn't vibrant enough. So I merged improvised poetry with basic rock chords.

The new artists coming through were very materialistic and Hollywood, not so engaged in communication.

I can't bear working with a click track, we're not click track people. But for "Mercy Is ..." we all got in one mind because the song is delicate; it's not a song that showcases a vocal or some virtuoso.

Since I was a child, I hated having to deal with my hair. I hated having to change my clothes. As a kid, I had a sailor shirt and the same old corduroy pants, and that's what I wanted to wear everyday.

When I was home, traditionally since I was young, I'd write in cafés. That was the romantic notion in 1963. Café atmospheres back then were different. The café life really stemmed from the Parisians' idea of it, with poets struggling over their poems and drinking coffee. No music, no sounds, maybe a little jazz, or soul, but mostly nothing. Now you go into a café and the music is really loud, people are having business meetings, they are on their cellphones. It changes from generation to generation.

We went our separate ways, but within walking distance of one another.