"Sure. It does lean more towards the industry standard rather than towards my roots. But I meant it to be that way for a reason. To begin with this is my first album in about three years and my first for a new label. So I wanted the album to have the same basic listenability throughout and I wanted the record company to feel that they could hear four or five potential singles on it. Tracks that would work on the radio. Because that was what I was aiming for, I had to make sure that each song would capture an exact feeling which would get across to the most number of people. I always like to make records like that. I hate records where all the musicians or the artiste are really saying is 'Dig Me!' You can lose a lot of your potential audience by making self-indulgent statements. Unless, of course, you're so neat and groovy that people say 'Wow Man! Come All Over Me!'. Now I think I am pretty neat and groovy, but I prefer to make the sort of records which will make people think about themselves, not about me. Pop music shouldn't really express the innermost thoughts of the artiste as much as giving the listeners a feeling of exuberance or pain or power or whatever. To give them a sense of their own selves. Once you start making music with that sort of end in mind, you realise that you have to make it less jagged and more compartmentalised. And so the reason I Can Dream About You sounds maybe as Industry Standard as it does is because it was designed to get through to as many different sorts of people as possible. And that isn't necessarily a negative factor."