"I'm loyal to Weather Report's vision. I can understand how some people come in through the wrong door with them. This album is from a point where they're coming out of this improvisational period. Their first few albums were really exploratory and you had to be quite committed to them; they weren't instant records. But they had plenty of acclaim and backing from their record label. It's amazing that there was a point in time when record labels backed that kind of music. But this was the point when they were playing a lot of colleges and they added a more funky span to what they were doing. So the bass guitar started to get more prominent. It was Alphonso Johnson playing bass here and not Jaco Pastorious, and people forget that Alphonso Johnson did a lot of the groundbreaking stuff for the fretless bass. There's a painterly quality about this album and the orchestration gets more densely textured. You've got tracks like 'Jungle Book', that closes the album, and it's a beautiful track that could be put together by coloured pencils. It's a very pastel-y track where they've taken an improvisation and drawn round and over the top of it. Tracks like that are really funky. We didn't have ""world music"" back then, but this was the beginnings of that idea; of something beyond the horizon of our culture and something that was kind of hidden. It wasn't about doing an authentic version of ethno-musicology, but taking different elements; it was all about colours."

"It’s All Coming Back To Me Now’ was on the first CD that I remember buying. I had a little purple plastic CD rack and it was one of the most played on that. I loved the piano and I started playing the piano around that age, so it felt relatable for me. Again, I just loved the drama; it’s like a seven or eight minute long song, it’s so amazing, who does that? No one does that! It took me on such a story, the visuals are so clear, even now I can still feel that intense drama. Celine Dion’s amazing, it’s like watching a movie, honestly, listening to those kinds of songs. “So that was ’96, so I was nine. I was quite a melancholy child. My mum would put me to bed and I’d always get up and walk around upstairs, where there wasn’t really anywhere to walk around. I would just walk around the bathroom, sit at the top of the stairs, hold the staircase and stare out. I really was quite melancholy and I now understand mental health issues as an adult - like I had, you know, anxiety, OCD, depression; I had so much emotion. I mean that was just me as a really morose, melancholy nine year old, I really felt that intensity. “Those emotional songs can be the cloak that you wrap yourself in. I was drawn to the drama of those kinds of songs, definitely. I mean, those are pretty intense sad songs for a little kid."