I think almost every woman artist I've ever met has this ideal of being in a partnership working situation with a man, that men don't seem to share. They seem to want this ideal thing, that we'll always be together and work together.

I write a lot of more instrumental music than I do vocal music. It's because I come out of a background of playing piano and then playing sax for a number of years. I kind of got into rock backwards. A lot of guys go into rock and then get sick of it and then go into something else. I came the other way, so I've always just had a lot more stuff lying around.

Places like Belgium and the south of France, Sweden and Copenhagen are really alive. They really love rock 'n' roll, they really respond.

I'm kind of proud of that little record! I mean I've heard about a million other records that have come out since then by all these groups around here and there and I really like 'Little Johnny Jewel'.

I always like junkyards. All this metal piled up - they're filled with pathos, those places. Much more pathos than most of the music I've heard. You look at it, and there's more feeling, even though it's depressing, than there is in a lot of music I hear these days. A junkyard is what it is, whereas listening to a record by, say, Styx, is something else.

I don't think anybody thinks about their past much, unless they're in a mental institution.

My non-career. My excuse for a career? Honestly, I never think about the word 'career.' I've had managers, the minute they say it to me, they look at me and just roll their eyes.