"The reason I love this record, apart from it being an absolutely incredible record, is that up until hearing Marquee Moon I wrote songs on my own and when it came to putting things together with a band, I would always have in my mind that I would play chords and then break for a solo and then have some more chords. A friend of mine who is a great guitarist himself asked me whether I had heard a song called 'Marquee Moon' and suggested we try learning the guitar parts together. We sat down like teenagers and tried to learn them. I suddenly realised that you can have loops of really intricate riffs – it doesn't have to be just chords and solos. So, Marquee Moon changed my attitude to arranging - in terms of the guitars - a song. But then, weirdly, after that the track 'Marquee Moon' began to haunt me out. I had some gigs in Australia and Brazil and I figured out that if the record company gave me a round-the-world ticket it would be cheaper for them and also mean I could go to places like Thailand and Chile in between the tour. And every single place I went I would hear the track 'Marquee Moon' being played on local radio stations. It started to become really, really creepy. So, when I came back from the tour I thought I better buy the bloody record as it was haunting me. I found it for a quid in a charity shop as if everything was lining up for me to listen to this record in its entirety. And I did, thankfully, and it has just really changed my attitude to playing guitar and how I could structure things differently in terms of guitar playing."

"I'd already bought the single, 'He's Misstra Know It All' and played that to death. I bought this album on the day that it came out in Woolworth's, when I was on holiday in Eastbourne. And then I had to wait a week to listen to it. I spent that time reading the back cover about Moogs, ARPs and other synth sounds and I didn't even know what those words meant! My imagination was quite engaged because he seemed to have played all of the instruments and that was unusual back then. But I've always liked records that have that much of a one-man stamp on them. The sound of Innervisions was different from what was around at that point. There wasn't anything that sounded as colourful as this album. These new synthesizers sounded sensuous and they were moving in a very animalistic way while being chest-resonators with humanistic kind of sounds. It was fascinating when I was first getting into music. It was a more sophisticated kind of pop music compared to what was going on at that point. All these complicated chords that Stevie Wonder was using were very intriguing to me. The sonics on this album really hit me and some tracks are more fruity than others. Then you had tracks like 'Visions', which are more jazzy and quite guitar-orientated. They gave me feelings that I didn't understand as a teenager, and even after over 40 years, Innervisions keeps on giving. I keep going back to it because it's got so many emotional layers: there's anger there, there's tenderness and there's a lot of commitment to the music. Stevie Wonder seemed more real and that was something you could align yourself with."