The Beatles and Bob Dylan are probably my biggest influences. In terms of contemporary stuff I liked The Verve, Coldplay are great and I also like some Elliot Smith and Mercury Rev but I think Bob is the greatest songwriter of all time. It's hard to think of another rock and rollstart from the last 30 years who hasn't been influenced by his music in some way. But it's not like I sit down and actively try and write songs like him or The Beatles, I think it's a subconscious thing, it's like embodied knowledge or experience that's entrenched in your soul through years of listening. I have something to say and I say it in a song and sometimes it maybe just happens to come out in a way that might be compared to them.

The Beatles got me into music. If it wasn't for them I probably would never have picked up a guitar. I hate to sounds pretentious but hearing their music was like a religious conversion for me - it literally blew my mind. I'm a melody man. I like my music to soar, undulate and peak. I also love Dylan & The Stones. Basically, I like my rock-stars to look as good as they sound i.e. the whole package. David Gray just doesn't do it for me I'm afraid. Also, he always sounds to my ears like he's doing a Bob Dylan impression. Maybe he should grow dreads or something.

With the best songs it's usually both at once. Something like 'Emotion'- the whole first two verses and chorus all came together immediately after I got home after a particularly intense day at work. Just sat down at the kitchen table and out it came like emotional treacle. Occasionally, I write all the words first and put the tune to it later. 'Everything A Woman Should be' was like that.

I usually get the music first. I play around with chords and sing a load of nonsense over the top and once I hear a hook and a good melody I start working out the best words. But it's not an exact science 'cause Plantation Cafe and The Blind Man weren't written like that. I wrote all words to Plantation Cafe first, although I had the melody in my head before picking up the guitar. It's hard to differentiate because normally when I'm getting a melody worked out I already have a concept, a kind of loose theme, so in a sense you could say there are some rough words in my head first. I try not to analyse it too much, it's a kind of magical thing, I can go for months with nothing and something suddenly occurs. I get paranoid that if I analyse it too much I won't be able to do it again.

Everyone I've spoken to has been very complimentary which is great but it would be good to somehow know what others think, those I haven't spoken to. I'm not sure that the masses appreciate the kind of thing that we do but I can accept that and the way I feel now is that if our music somehow touches a handful of people then it has been a success. One person uplfited by just one of our songs is a major achievement as far as I'm concerned, especially in a world dominated by packaged soap powder corn flake pop.

Although the album was ignored by practically the entire British music scene, it still gives me great satisfaction to know that alot of the people who bought it really love it. To me that in itself is a measure of success. Commercial success is not the foremost objective. Integrity and truth are.

We have loads of songs and it's just a case of selection now. I think Robbie has Some ideas for the title which is cool. He came up with Universal Bubble, which I think is such a great title. It's an important thing because most of the classic albums have great titles. One of my ideas is Turning The Inside Out but in a few days I might think that's a load of rubbish.

Old Dog and I both have a shit-load of new songs we wanna do - it's just a question of condensation and filterisation. I really wanna start recording in the new year. I feel it's time. I'm literally bursting with product. As for titles, I quite like 'Life Is For Living' or 'Tunnel In The Sand'.

He's a god damn marvel of modern science. He's my brother. I am him and he is me. He is the kindest guy I have ever met, a heart the size of an aeroplane - it is impossible not to sense the warmth of his soul.

Quite honestly, I thank God for the day I met him. He is my true soul mate, a spellbindingly brilliant guitar-player and an incredible songwriter. He's made me laugh more than anyone I know. When I'm with him I feel like a kid again. He's one of those rare and precious souls who has taken the time to consider the nature of his own existence. God bless him. (For a prime example of his musical radiance check out the guitar solo on 'Hanging On You...)

I think we will continue to release albums every two or three years that will appeal to a bunch of people who are solidly singular, totally trustworthy and sincere, those with polished experience, wit and charm and and an abundance of true soul.

Recording the fourth album with our kids on percussion.

We're playing the Leamington Peace Festival in June 2002. Can't bloody wait.

Yeah, the Peace Festival and I think we're doing a warm up slot at Wembley Arena the night before.

Please don't raise my blood pressure. Whatever Will Young has, it's not detectible on my radar screen. At least Gareth looks like he means it.

The only encouraging thing about it is that bands like Coldplay are producing great music - their new album is the best thing I've bought for years. Everything else reminds me of that feeling when your face is pressed against the lavatory porcelain. But I do like Gareth, that kid has soul.