I felt that, in retrospect, there was a time in the late Seventies, after I had a string of hits and successes, as a performer and a recording artist, that I wasn't saying anything. ↗
We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit. ↗
I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers. ↗
I was burned out. I think I was just exhausted. It was a very intense five years. We didn't stop. It was constant touring, constant writing, recording. ↗
She's been a smack addict, she's had big success in Europe in the '70s, and she's lost everything. She's been rediscovered in the '80s, and as we meet her she's just about to sign a new recording contract. ↗
But I listen to live recordings of things that I did back in the '70s and then how I've done things since. And there's no doubt about it: if I compare the two, it's like chalk and cheese. ↗