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We became the songs we wrote.

With the Stray Cats at least, we really took the music somewhere else. First, we wrote our own songs. That's a real weak point in modern classics if you do rockabilly or blues.

Producers on Broadway approached us with an original script after relaunching ourselves as 'A Great Big World,' and wanted us to write the music. They asked us to make the music we would sing if we could, and so we can go a little crazier. We refer to it as 'our music on steroids.'

I think when we were starting out, it was more about imitating our songwriting heroes. We would try to write songs like Neil Finn, or we would try to write songs like Ray Davies, or we would try to write songs like Glenn Tilbrook.

We wanted to sit down and conceptually work out songs.

I wrote two plays before I was cast on 'The Neighbors.' They actually got published, which was cool.

My interest in the theater led me to my first writing experience as an adult. My husband David wrote the music and lyrics and I wrote the book for a children's musical, 'Spacenapped' that was produced by a neighborhood theater in Brooklyn.

In Genesis we saw ourselves as song-writers. After Peter Gabriel left I was the first to say: 'It's OK - we can just do instrumentals.'

We spent a month in LA using a pool of musicians, a string arranger called Benjamin Wright, some great backing singers, and it gave tracks like Dynamite, which was written there, that kind of flavour.

When it came to the music that we produced, I am pretty happy with what we did.