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When they brought Roth back into the picture, obviously I didn't go along with that too well.

David Lee Roth had the idea that if you covered a successful song, you were half way home. C'mon - Van Halen doing 'Dancing in the Streets'? It was stupid. I started feeling like I would rather bomb playing my own songs than be successful playing someone else's music.

When we made that album with Gary Moore, I was still kind of searching for the right direction for myself. Although the music is quite good the direction was like a box of fireworks that caught light all at the same time.

We were with Frank as part of his very last tour.

Any artist who goes to Las Vegas is an idiot as far as I am concerned. Whoever goes to Las Vegas can stay in Las Vegas.

A room containing Philip Roth, I have noticed, begins hilariously to whirl and pulse with a mix of rebelliousness and constriction that I take to be Oedipal.

Yes, but I view Frank's music as fully composed. In other words, the arrangements can work for any idiom such as a rock band or an orchestra. Frank was a brilliant arranger and could make his music work in any context. He proved that tour after tour and album after album.

Philip Roth is a fabulous writer, but he pretty much stays within his own life. He's so good - I mean, practically anything I've ever read of his I've really enjoyed. He just has tremendous talent. But I think he should have given himself a break and gone deeper into the society.

As far as One Direction goes, and Mindless Behavior and all the other bands, I'm all for it, and if there's ever an opportunity to work with them, that'd be great.

I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.