ambient musician and guitarist Michael Brook that they record a collaborative album together for Gabriel's recently established world music label Real World Records. The duo subsequently recorded Mustt Mustt (1990), a world fusion album credited only to Khan that features Khan's qawwali vocals with keyboard work from Brook. Considered a "secularized" or "Western" version of Khan's other Qawwali albums, it was critically acclaimed internationally and has been credited with leading Pakistani youth to discover Sufi religious music, qawwali. It was subsequently named one of the Top 100 albums of the 1990s by American music magazine Alternative Press, and reached number 14 on the Billboard Top World Music Albums chart in 1991. David Lynch of The Austin Chronicle called the album a "seminal fusion". British musician Nitin Sawhney said that it "changed the face of British music forever". The album was originally intended to be a one-off collaboration, and the pair subsequently worked on separate projects. Khan released a string of over ten more traditional solo albums, including The Day, the Night, the Dawn, the Dusk (1991), the unanimously acclaimed Devotional Songs (1992) and The Last Prophet (1994), the latter two albums also released on Real World Records. Brook, meanwhile, released the acclaimed Cobalt Blue (1992) on 4AD Records, and toured with Robert Fripp in 1993, resulting in the release of the tour's live album Damage: Live in 1994 on Virgin Records. However, Khan and Brook chose to reunite in 1994 for another album for Real World Records. Naming the album Night Song, work began in 1994. Part of the album was reportedly recorded in Real World's Real World Studios in Box, Wiltshire. Recording The album was produced by Brook, who chose to work in a new method, after discovering that, during the recording of Mustt Mustt, Khan soars to his greatest heights when he has ample time to improvise, which frustrated Brook because the backing tracks he had created were "on the short side." He worked in a method which saw Khan record vocal improvisations onto multitrack tapes which Brook would subsequently add to and layer, part by part, in the style of remixing; unlike the typical method of remixers building their mixes out of recorded parts that had already been carefully selected and edited by the original artist, for Night Song, Brook had to decide which sections out of Khan's improvisations, some of which were an hour long, were