I didn't want to live in LA again, although I'd go back every couple of months to do an interview, usually with a heavy rock or metal band. And as the decade went on, so much of that scene had become totally corrupted by too much coke and money and silicone.

I didn't want to live in LA again, although I'd go back every couple of months to do an interview, usually with a heavy rock or metal band. And as the decade went on, so much of that scene had become totally corrupted by too much coke and money and silicone.

Everybody was in tears. You turned on the radio or the television, and it was nothing but Gainsbourg. With typical British music journalist disdain, I just figured it was a testament to how poor French pop was if there was this much fuss about a guy who had one hit record, 'Je T'Aime (Moi Non Plus)'.

Not so much that I wanted to give up rock writing, but I also wanted to try something new. So I moved to a crumbling stately heap on top of a hill in the middle of nowhere in southwest France, about 60 miles from Bordeaux: wine instead of cocaine.

The difference between fiction and journalism is that you can disguise the characters, so you won't get your legs broken, and there's no interview tapes to transcribe.

A French friend brought over a load of Gainsbourg vinyl and I worked my way through it: by the time I got to L'Histoire De Melody Nelson (1969) I was thinking, 'How can this man have died before I got to know his music?' I was a convert.

I'm not trying to ally myself with the rock stars of the universe.