"I'm the step-son of Al Green, so that's my father in many ways. Let's Stay Together has that tom-snare that just gave it this whole deadpan quality, and then there's the organ work. It sounds like church. What's so special about the organ is that it's got that dichotomy about it. It can sound absolutely angelic or downright evil all at the same time. It's the only instrument can sound like that to me. And they made good use of it. He used the same sounds, the same producer, the whole way through; it's not like records today where people use this producer or that producer. That's what I was able to acquire with Danger Mouse. Al Green is everything. He's everything that I am."

"Someone told me that the middle of the road is the only place you definitely get run over, and this is very obvious, housewife soul… you can’t say that any more, can you? But I just like how it’s created. I get really into the fact that the band used to just bang out these songs, they’d put down these drum tracks then Al Green would just come in at the last minute and sing on top of it all. They’re so patterned, cyclical, and he just it off. It’s a load of faux, pre-religious romantic nonsense, but really well done. They were kind of cynical, I reckon. ‘Let’s knock a few of these out in a day and we’re on!’ They’re kind of simple songs when you look back at it, there’s a lack of depth to Al Green, but he’s got such a good voice, and such a good drummer. And age has made it sound cooler, but the core isn’t cool at all."

"Experimental Tape 2 (Vol. 1) is the purest, most potent of bedroom [production] madness and beauty, but basically no one heard it when it came out. It's like a combo of Bowie, Al Green, late-period Scott Walker, and R&B, but done on GarageBand in a small room with mass amounts of painkillers and Adderall. It’s so fucked and heartfelt and rhythmic and playful. "Emma Baby" is one of the most cosmic melodic climaxes I’ve heard in a very long time."

"By 1972, I’ve finished up in art schools, hitchhiked around the country, and I moved to Providence, Rhode Island. In the mid-’70s, I was in a band with Chris Frantz from Talking Heads, and I wrote a couple songs that stuck during that period, including “Psycho Killer.” We also did a lot of cover songs—Al Green, Velvet Underground, the Sonics, the Troggs. The Velvet Underground were a big revelation. I realized, Oh, look at the subject of their songs: There’s a tune and a melody, but the sound is either completely abrasive or really pretty. They swing from one extreme to the other. “White Light/White Heat” is just this noise, and then “Candy Says” is incredibly pretty but really kind of dark. As a young person, you go, What is this about?"

"I heard a tremendous amount of first-class soul music... my father was in the Royal Air Force and I lived on a base. It just so happened that it coincided with the period of pirate radio stations, so a transistor radio was a virtually unmediated way of hearing absolutely incredibly music. I heard Hendrix, Electric Prunes, all the best soul music. You didn't know what these people looked like, who they were, anything. There was this guy Nicky who I used to play football with, his father was from Jamaica, and when he was moving on he gave the youth club his soul collection. The guy who ran the youth club, he was championing what I thought was starting to be second-rate output from The Beatles, because after 'Strawberry Fields' or 'Magical Mystery Tour' they came out with this Sgt Pepper's thing which I had issues with. Meanwhile, we had every good soul record. You also had Johnnie Walker, I think, on [Radio] Caroline. This also represents that period in the 70s when I was listening to Al Green, Sly, Stevie Wonder; the most interesting and radical music that was going. It's pathetic to go 'black soul music, oh right, Al Green's Greatest Hits', because the productions, the voice and everything is incredible. Let's just say one of the greatest singers, that's for sure, and he has to represent all of that."

"In the same way as I chose Al Green I chose this because they are the first real electric blues band, they are just magnificent: the songs are great, the singing's great, the arrangement's are great, the sound is great - they invented it, pretty much. I got really familiar with this round about '83, '84. I was breaking up with someone and breaking up with myself really. For about a year that was all I listened to, I put it on and it never disappointed me. It was after all the Wire work and all the Dome records and all the various things. I put that on and was absolutely sold. Things were up for grabs, I wasn't really sure about anything else really, but this seemed really pretty solid for me. Incredible. Talking of John Peel, the last time I saw him before he died, he came up to me and said: 'What was the most disappointing gig you ever went to of someone you really liked? For me it was Howlin' Wolf with a pick-up band and I wish I'd never gone.'"

"Another incredible record. Was I always into electronic music? Well, I've always liked all kinds of music but I really like pop tunes. I don't think there's any more validity to an Al Green record over an ABBA record. Some of the ABBA records are absolutely amazing. I met one of he guys who drummed on pretty much all of them and he's a phenomenal drummer. Ludicrous! His name is Per Lindvall. And I kind of think the musicianship is all there, it's just that they were very, very, very, popular records. It's one of the curses of certain bands. They become so big that people don't take them seriously anymore. I don't think anyone is going to take me seriously any more because my first record was 'Never Gonna Give You Up' which is a pop – of its time – dancefloor filler. Handbags on the floor, Saturday night record. That's what it is. And I think once you've nailed [your colours] to the mast, you ain't changing that. I never tried to fight it. It's also why some people drive themselves mad. I'd like to be known as someone who can write a tune and sing one but if people want to put me in a category that other people see as derogatory, I probably don't fight it because I don't want to hurt myself. I played every note on my last record [2016's 50] and it went platinum. Does anybody care? I don't know."

"I first heard this on the radio in the car about six months ago. Rarely will anything break my concentration when I’m driving but occasionally I’ll hear something and think ‘Wow, that’s got something’ and make a note of it to listen to later and this sir Was track sounded great. The Lemon Twigs’ record did that, when I heard some of those tracks I really liked the attitude, they’re very stylistic and retro to a degree, but the attitude was real enough to not make it all about the style. “So when I heard ‘In The Midst’ I really liked the beat. When I listen to something I think the sound hits me first and I’ll get into the track later on, where I’ll get into the lyrics and the more I hear it I’ll know the workings of the track, but with that first instinctive listen, I normally hear a bassline or the beat. “There’s a song on World’s Strongest Man called ‘The Oaks’ - I call it ‘The Billie Jean Beat’, it’s a running ‘Billie Jean’ beat with a loop over it - and ‘In The Midst’ has got this Al Green beat to it with these reverbed vocals that are almost like The Flamingos and The Shangri-Las. I listened to more of the sir Was record and it’s quite a weird record actually, there’s some great moments and then there’s some stuff I’m not so into, but I definitely like the attitude and the sound on this track. Sonically ‘In The Midst’ is up my street, it’s really cool."