And I saw the sax line-up that he had behind him and I thought, I'm going to learn the saxophone. When I grow up, I'm going to play in his band. So I sort of persuaded my dad to get me a kind of a plastic saxophone on the hire purchase plan.

If you want it, boys, get it here, thing.

People who had been treated inhumanly, not given a chance to secure any foot on any ladder - and all the social mores were suddenly abandoned.

I think that my fascination with clothes generally was motivated by trying to create the characters for the stage.

My mother was a housewife. Both from - well, my father was from a farming family, agricultural family in the north of England. And my mother came from a very working class.

When we decided to marry, we had two ceremonies - one was more bureaucratic for the sake of the Swiss authorities,then a church service in Florence, and I wrote the music for the church service. The challenge in that was that Iman's [Abdulmajid] family are Muslim and mine are Protestant. I had to be careful about the prayers that we chose and the music I wrote because I didn't want to offend either side.

On "Tonight" I think I was torn dreadfully between writing what I wanted to write, but keeping it in a style that would follow up what I had just done. That's where I feel I was untrue to myself as an artist . . . that album and, to a lesser extent, "Never Let Me Down."