Well i was a folkie and I didn't have the wit to work it out for myself. I started working for this agent who made me work to a script - it was horrendous - really took some getting my head round - but before the end of the first gig I could see he was on to something. After I'd done 18 months for him, I knew enough material and had figured out my own style. strangely enough, I found that certain songs evoked something in me, and that's the best stuff - Jolson was so lucky he had every top writer working for him . Similarly with Astaire. Somthing like The Last Waltz by Engelbert is quite technically challenging - verse is in the tenor range - the chorus is baritone - I'd nver thought of that stuff - just singing to my guitar!

Its not automatic - it takes thinking about. Put your price up at Christmas - you can work three times or more a day - one time I did five homes in one day! In December you can make enough money to help you through leaner months - but there is a steady demand if you get it right. You can't charge a lot and you can't travel as much as you would for a club gig. But you will get more work and no agents fee! You will get a load of confidence from doing this, for these people are the very cream of our society and its a great privilege to sing for them and be one of the few people in giving them something other than the bare essentials.

I always worked for older people. I was never much cop with a younger audience - I have nothing really to say to young people - although they were occasionally receptive - I usually turned down the work.

CCR ? Wouldn't Vietnam vets prefer AOR stuff - perhaps they are someone you could engage with your folksongs.