“This was at a very important time in Peter’s life. There was so much going on, so many questions. He wasn’t entirely sure what he wanted to accomplish, but when we got together, we decided to explore. We sort of had a better idea of what we wanted to do with a stage show than the music.
“I moved Peter and his wife, Jill, and their daughter Anna to New York. I rented them Garson Kanin and Ruth Gordon’s apartment – a really magical place. You've got one of the greatest writers with Garson, and then there's Ruth, who was in Rosemary's Baby. Anyway, Peter would come to my apartment on 52ndStreet. He would sit at the piano and noodle around while I was in my office upstairs, and every time I heard something I liked, I would run out and say, ‘Let’s record that!’ We would put everything on cassette. Eventually, we assembled a bunch of pieces we really liked, a sense of a direction musically, and that’s when Peter went back to England to flesh it out.
“The next time we got together was in Toronto, when it was time to do pre-production for the record. We did it at the same studio where I’d recorded Love It To Death, and actually we used many of the same musicians.
“It was a brilliant experience for me to work with Peter, and it has been every time we’ve worked together. We’ve managed to do it a number of times over the years, and we’re still great friends. I truly love that man and his family. I find him to be so stimulating to work with. He’s a real artist with a capital “A.’ And he elevates my game, absolutely.”