"This was the basis for the baseline in Sleaford Mods, fucking great stuff. Stuff like 'The Lurch'. They did a cover of the Gun Club's 'Sex Beat', that's great. Most of Weatherall's work is bass heavy, it's solo stuff. Wrong Meeting, the album that came after this, that's bass-led. There's a rockabilly feel to it. But with From The Double Gone Chapel it's 80s synths, bass, car alarms. The inner sleeve, which is just a coffee stain and a packet of Marlboro Lights next to it, that really influenced me. Same with Mike Skinner's sleeve where he's just sat in his flat with a pint, it's just fucking brilliant. That's how it is, he's not pretending to be anything. Those things merge, all of it is a big melting pot. I think I've hit it good with the albums that I have chosen for you as far as my contribution to Sleaford Mods. I mean, Andrew, whatever he makes, I go with. Initially, when we started doing Wank, the album before Austerity Dogs, I would have said to Andrew that I want a big heavy bass and I want a dusty Wu Tang thing. He took that on board and made it his own, then he would bring these slices of music to me and I thought the sound wasn't something I'd really go for, but it was quite good. I don't tell him anything any more, he just gets on with it. This the band I've been trying so hard to get into. I think we've been very lucky, regardless of the hard work and the shit me and Andrew went through, it was luck as well. I feel quite grateful that it happened to us."

"The avant-garde comes to the mainstream. At the time, Terry Riley was an avant-garde composer. He still is, but he's probably more so known for his work in the late '60s. Indian music at the time was coming into focus because of The Beatles and psychedelic music. So his compositions - especially this one - were really hypnotic, very mantra-esque. I think Terry Riley influenced more in a pop sense than in a rock sense, and I think A Rainbow In Curved Air has probably equal influence to Sgt. Pepper's. And you can quote me on that! It's obviously where The Who got the name 'Baba O'Riley', where the band used synthesisers - that's from Terry Riley. We cut our teeth in Buffalo, NY, in the early '80s and in that time the place was at the height of avant-garde. They opened a music school where they featured all the greats - Terry Riley, Steve Reich and Tony Conrad - just a ton of avant-garde composers, who later became more famous. It was such a central point for the electronic avant-garde movement, one that hadn't been around since San Francisco in the late '60s. It influences everything that Grasshopper and I do. We have strange polarities of the melancholy, romantic side of us. Then we also have the avant-garde side of us. The rock & roll side of us is probably the least prominent in our music. One of our albums, Snowflake Midnight, is also our homage to that bygone era of electronic music. Once you put it on, you think, ""Oh that's where all that William Orbit and Moby stuff comes from."" If you look all the way back, that's Terry Riley. It was the beginning of synthesisers, arpeggio synths also, which eventually became modern dance music. It was his motif of making it more hypnotic."

"When you ask me about whether this was an influence, the first thing that comes to my mind is Philadelphia, more than Motown. Harold Melvin and the Blue Notes, and Barry White, and that kind of sound. Certainly after our third album, A New Flame, that was very much influenced by Philadelphia. I found it very difficult to be influenced by Motown, because the sound of Motown was so unique that Stewart [Levine] and I, we very much backed away from it. By the mid-80s, that 60s Motown sound was a big cliché, and we wanted to make something more modern. But then again, that's what What's Going On is. It's the album that took Motown away from what you might describe as the 45 sound, singles sound, of The Supremes and The Four Tops. The What's Going On album was one of those mind-expanding records, wasn't it? It blew Stevie Wonder's mind and inspired him to make Music of My Mind and Innervisions. It had an impact on everybody. And I know that Berry Gordy thought it was a failure initially, so he got his comeuppance from the sheer genius of it. Again, it's an album to listen to from beginning to end. In fact it makes you do that because the tracks, they don't really end, they just drift into another track. It's one of those moments of genius when everything came together – the engineering, the band, the songs – he just really hit something. I was torn between Let's Get It On and this, that's also a great album, for many years I preferred it; but as I've gotten older, I've come back to fully appreciate the the originality and the ground-breaking brilliance of What's Going On."