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I'm the kind of person who can hear that stuff. If you sing along to the radio and you're not going to sing unison with the melody, but find the harmony, I find that pretty easy to do.

Harmonies are nice.

I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.

The Queen and Electric Light Orchestra harmonies are so distinct and fit in our songs so well sometimes, but we don't know how to do them properly.

Doing the instrumental thing, you're really looking for the power of the melody to carry the record.

The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action.

The thing I try to do the most is to play in terms of the song and play in terms of what I'm hearing.

With a good melody... music gets me through everything.

For the live shows, I'm just getting my song together. I go back to my hotel room and I just listen to my song over and over again, figure out how to make it different and put my little Pia spin on it.