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One of the reasons I got into musical theater was Anthony Warlow. I was obsessed with the 'Jekyll and Hyde' concept album because of him.

I used to love 'Jeeves And Wooster.' That theme tune was great. I remember writing to them when I was little to get the music so I could learn it on the piano, and they sent me the sheet music.

From folk to tribal to Cab Calloway, Cole Porter, Gershwin to the Rolling Stones, whose first record was all covers, to country-western, bebop, blues, and even the referencing in classic hip hop to cliched love ballads of the '80s or whatever - that is kinda gone, and that's just terrifying to me.

Ever since I was a little kid and first heard Jimmy Reed's 'Honey, Don't Let Me Go,' the blues has been in my blood.

I've always been a bit of a Jekyll and Hyde. I always feel that you should keep singles as commercial as possible so that the people can walk down the road and whistle a song. But on the other hand on albums I think you can afford to show people what you can do.

I never even went to Jekyll & Hyde's restaurant. I loved the Greenwich Village Halloween Parade, though.

I continue to believe, contrary to the given wisdom, that it's more interesting to have an album - or, indeed, an individual song - which has variety rather than homogeneity.

When we made that album with Gary Moore, I was still kind of searching for the right direction for myself. Although the music is quite good the direction was like a box of fireworks that caught light all at the same time.