"When my eldest was a baby, I'd take her on tour, and this album was an important part of the kit. There'd be a battle after the gigs to get her into the car and I'd be all, "Put Tumble Bee on quick! Put Tumble Bee on before she kicks off!" And then everything would be alright. So I'd like to thank you, Laura, for saving my life a few times [laughs]. 

This is a really wonderful album for children, well-crafted and beautiful, that doesn't dumb things down. I still listen to it now, quite happily, without the kids. Becky and Niopha have babies now, and we had them on tour with us when they were both about six-months-old. That time in my life is very much done, but it was really lovely. I remember Becky standing backstage, and breathing out, going, ‘Oh my God, I'm in a quiet room with a clean dress on'. I remember that feeling too [laughs]."

"This wild ride was released in 1959. John Cage reads 90 one-minute texts, while David Tudor creates inventive cacophony in another room, out of hearing; so that any relation between voice and accompaniment is purely accidental, as Cage says in the liner notes, "to suggest that all things – stories, incidental sounds from the environment, and by extension, beings – are related, and that this complexity is more evident when it is not oversimplified by an idea of relationship in one person's mind." Cage's preoccupations include music, mushrooms, and Merce Cunningham; personal anecdotes, Zen proverbs and monk jokes, and lots of modernist name dropping. Tudor's palette includes prepared piano, springs, radios, and existing music, notably Cage's 1958 Fontana Mix. Cage complains that at his readings inevitably "someone comes up afterwards and insists that the continuity was a planned one, in spite of the ideas that are expressed regarding purposelessness, emptiness, chaos, etc." Planned, schmanned! "