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)'.

Even though it felt completely natural - strangely enough - recording an album, I was very shy about making it public.

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.

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.

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)'.

Leonard Cohen can give you "Leonard Cohen" - the self-deprecating wit, the slow, considered speech, the perfectly-honed anecdote - Tom Waits is far more comfortable giving a journalist "Tom Waits" the character, whose conversation is really a series of strange tales, learned or ad-libbed.