The fame and the money and all that stuff that comes along with it is all great, but that's not the sole purpose of why I make music.

If you want to make money, that's great, but if you make great music, you're going to make money anyway. Keep your eyes on making a great product. You don't even have to promote it.

In 1965, when great young white artists in the English-speaking world were successfully re-channeling hillbilly and black music - you know Bob Dylan, Ray Davies, Pete Townsend, Keith Richards - they didn't get any money at first. They were all broke.

If people are talking about you, that's great. You start making more money, that's great. You get to go to weird places, that's great. The music industry is weird, especially with the Internet. People are calling you all kinds of weird stuff, like 'jangly.'

My mother was devoted to helping people - with my father's money! - who had great voices but didn't have the financial means to study music. He and my mum gave away dozens of music scholarships, and my mum opened a school in town, introduced opera to children and created fantastic programmes.

It's always boiled down to the quality of your music and the quality of your deal with whoever's distributing your music: There are artists who sold a lot of records and didn't make money because of their deal, and artists who didn't sell nearly as much who made a great living because they own their masters.

I went from a playing in a bar on a bar stool for free beer and tip money, where people weren't paying attention to me, to now I've got their attention. It's up to me to what I feed them with my music. It's up to me how I do that. I've put a lot of thought into how great the songs are, and how I want people to perceive me.

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