"The album this song is on – A Girl Called Dusty – was in that pile of records that my friend's dad gave to me and that was the first I'd ever heard of her. I love the key change: it sounds really sad but really hopeful at the same time, it gives me a lot of feelings. I used to listen to this album obsessively. I'd sit and listen and while I was listening I'd type out the lyrics and listen again and try to dissect everything in the music and work out how it sounded like that. How it sounded so good – where each tambourine hit was in every bar, where the key change comes in and why that feels so good and whether the key change goes up or goes down. I got really analytical and lame about it. I just really wanted to understand why it was so good! It’s just as incredible as “Walk On By” and those other Burt Bacharach songs – they're all so emotional! I don't think I have listened to the Gene Putney version, or maybe it's something I've heard and not really noticed, I don't know. If it was on the radio I’ve probably heard it. It’s the Dusty version that I have in my heart."

"My dad used to sing Sinatra songs all the time around the house. He used also sing Burt Bacharach and different things like that. And you grow up with your parents' music whether you want to or not. But in a bizarre way, my dad was one of those guys who would just constantly sing – I don't mean while shopping in the Co-Op or whatever – but he would just sing at home all the time. Actually, I just did a thing with Ronnie Scott's big band at Cheltenham Jazz Festival the other week and I remember those songs the way my dad sang them which means I remember them with completely wrong lyrics – he didn't know the actual words! He used to that with lots of things – he'd sing 'Jerusalem' with the line "and did those feet, those WHACKING great feet" for some reason! I'm sure a lot of dads and mums used to do it. This particular album was produced by Quincy Jones and features the Count Basie orchestra. So it's meant to have been a golden era of Sinatra doing the Vegas years because it was still in the part when songs were arranged with a big band and orchestra. But then you remember Quincy Jones produced Michael Jackson – so there's a weird connection there. I used to speak to jazzers about songs we were doing and they would ask 'are we doing the Sands version?' – I needed to find out what that actually meant! But it's just amazing to be in that room for a second. Some of that – some of the Elvis in Vegas stuff too – becomes mythology. A lifestyle. Like Elton John or Celine Dion although I don't mean that in a derogatory way. And I certainly don't think it's derogatory now. It affords people to put on a show they couldn't possibly do anywhere else. they can afford to go completely over the top with it. Would I like a Vegas period? I'd LOVE a Vegas period! Bring it on! I don't think I have the material – I've seen Elton do these massive three hour stint gigs but he has the songs to back them up. I just don't think I've got that material. Although maybe I could do something in Vegas though…"