"Do you remember the story Bill Withers tells on this record about 'Grandma's Hands'? When he was a kid, he was really close to his grandma. He talks about one of those churches she used to attend and this was a proper happy church where his grandma used to smack everything with a tambourine! Singing something that you really believe is incredible. Not everyone in a gospel choir has that faith – I don't have that faith in the way they do. I have faith in something – not sure what it is – but being around a few gospel choirs, there's a joy in it! And because of this belief. I did a couple of tunes with a choir on it – one of which was 'Cry For Help' in 1991. We recorded it in LA with what was the best gospel choir in the world at the time and hearing them sing the words made me believe them more even though I wrote the bloody words. But listening to Bill Withers talk about being a kid and going to those churches as a kid…[shakes head in disbelief] - he's a good storyteller and it's a great record. I find it a bit odd that if Bill Withers walked down any main street in the world, I would challenge anyone to recognise him. If you sang anyone of his songs to anybody from a group of teenagers up to a grandma, they would know it instantly. Can I hold a note as well as Bill Withers? No one can do that! It's physically impossible. He must have been drinking something very special at that time in his life. There's a bunch of songs that he wrote and he nailed a lot of emotion in those songs. 'Lean On Me' is often the first song people play on the piano when they start – it's all really gifted song writing, distilling things down to a simple thing. 
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"It’s the first Fellini film I ever saw, so I think it’s my favorite. My Italian relatives always told me we were distantly related to Fellini—not sure if there is any truth in that, but that’s one of the reasons we went to see it. “Oh yeah, he’s our cousin,” they would say. Growing up with Italians, you see that life is absurd: it’s a circus, with some sex in it, and Amarcord simply confirmed that for me. I can watch this movie again and again; it’s that enjoyable. And although some scenes are over the top—and yes, Fellini is obsessed with big-bottomed women and very large breasts—it’s a movie about his childhood. And by learning about his childhood, I learned to appreciate my own. When I was young, I spent every summer with my Italian relatives in Astoria, Queens. Here’s what I learned: every day is a drama, and it all ends with everyone laughing and drinking wine and eating spaghetti. There was an unbelievable tale to be heard about every third cousin. Somebody would whisper, “That’s Rose—the day her mother died, her face froze into a scowl. And that’s why she looks like that.” We never questioned these things. Listening to stories was part of the immigrant experience. Amarcord feels that way. Fellini is telling stories about people in his village, but I related to all the stories. This was a movie my Italian relatives took me to, that they wanted to see so they could see themselves and laugh. I think that by watching how much they enjoyed the movie, I began to understand and appreciate my own culture for the first time. Watching Amarcord was also the first time I experienced the music of the great Nino Rota. When you think of Fellini, you always think of the music, which acts as the perfect bridge between the stories. I challenge anyone to see this film and not want to make love. Amarcord means “I remember.” You will remember."