Julianne: "At the time of recording the first album, there was a tangibly spiky atmosphere of excitement and expectation. In true pop - lottery winner style, we were exploring our new status of cartoon nouveau - decadent 'rock stars' in a beautiful Tudor mansion, (where else?), in the Surrey countryside, recording on what was then pretty much 'state of the art' equipment. In Paul Samwell-Smith, we had at the helm an older, wiser, and seasoned producer. In Tony Philips, we had an engineer capable of capturing exactly what we were doing (and of providing us with a drummer, and my sister with a future husband!).

On top of this, there was a collection of songs that, with the exception of 'Martha' and 'Wild Hearted Woman' (which were written 'in situ'), Andy, Tim and I had had the luxury of crafting, very lovingly, back in the one-bar electric-fire hell-hole of my Tufnell Park bedsit, under a very bonding shared condition of real poverty. If there were any undercurrents of pressure to deliver a great commercial album, I was completely oblivious to them. The fact that we did just that, was the happiest of accidents.

There are a couple of little 'landmark' songs on the album. 'Appletree Man' had been a vocal departure for me, as I had employed a very poor man's Siouxsie/Xmal Deutschland bellow on the majority of songs written before that (anyone who has heard 'D For Desire', it's companion 'Don't Follow Me', the b-sides to the first version of 'In The Clouds ', and indeed 'Suppertime', will know exactly what I mean). I remember going round to Tim and Andy's squalid Harlesden 'pad' with a cassette of the vocal against Tim's guitar, and feeling nervous and embarrassed about playing it to them, worried that it would compromise my carefully nurtured 'one of the lads' status. Lyrically, it was in a new place too. It was softer than anything that had gone before. But most importantly, it was possibly the first thing I'd sung in what was emerging as my own voice, not one I'd tried to borrow from someone else.

At the risk of sounding like Michael Caine, not a lot of people know this but, although we usually credited all three of us as the song-writers, it was more often or not the case that some songs were the babies of one person rather than another. Apart from their melody and lyric, I can't take any credit for songs such as 'Flowers' and 'Every Angel'. At that time, energetic, speedy little nuggetts like those were usually a speciality of Tim or Andy. Because of this, I tend to feel more affection for songs that I was more deeply immersed in, like 'What Kind Of Fool', the first draft of which I wrote on a 4-track machine one Winter's evening in my, yes, I'll admit it, incense-filled room.

I'm also very fond of 'Never Promise'. In that song, Tim and Andy gave me such a gorgeous bed of music to lie on. I came across the melody with such ease. It felt so natural. I also enjoyed messing about with the song on the 4-track machine, using an old 'Jupiter 4' keyboard that a friend called Jean-Marc (from 'Gene Loves Jezebel' days) had let me have, and getting the string ideas and piano melody down onto tape.

But, please don't make the mistake of thinking that the boys wrote the 'boy' songs and I wrote the 'girly' ones, when the truth is that Andy was capable of coming up with the pale and slender skeleton of 'Lady Moonlight' and Tim was the one behind 'Appletree Man'. We had some truly brilliant times recording that album, and, some awful moments. But on the whole, it was something of a honeymoon really.

We were a funny little trio back then, trying, perhaps too hard sometimes, to come to terms with what was happening to us while trying to hang on to what we'd already built back in the bedsit. But, we were friends and we had some kind of fantastic chemistry going on that was fuelling the whole thing. We weren't wasting any energy 'fighting the record industry machine', because we saw the machine as benevolent. We were pretty naive, wandering around smiling at the tight-lipped crocodiles, enjoying what we were doing. Like I said, a honeymoon of sorts. By our second album, that honeymoon was pretty much over....."