I'd just call it modern music done in a retro way, that's all.

I didn't learn as much from him on the road as I did in 10 minutes in the studio. He did some vocals, and I learned about microphone technique watching him in the studio.

I have an old picture of Sonny Til and the second tenor from the Orioles outside the Earle Theatre. It was such an atmospheric picture, I dragged my girlfriend around town on a bit of a pilgrimage until I finally found it. That was one of my coolest moments so far.

It seemed like my career was always on the edge of something. Twenty years of bubbling under and not quite erupting kept up the excitement for me, I guess.

Those comparisons are so ludicrously flattering that they are difficult to object to.

The sole purpose of the company was getting me recorded. It was extraordinarily nice of them.

Over here, at its peak, it was the mainstream thing, whereas at home it was always a bit of an underground secret. People here don't seem to be in awe of it like we are, still.

People often think that every artist in that realm had the same qualities. If I want emotional intensity, I'll listen to Little Willie John, but if I want some pyrotechnics, I'll go to Jackie Wilson. It's not all the same emotional level, that stuff, which people make the mistake of thinking it is.

Most people's objection was that I was in my 40s. There was nothing I could really do about that.