"Joni's the greatest songwriter ever. And what a record. She writes as this omniscient narrator on this album, surveying everything from above, commenting on this world of women and predatory men she's created, and she has such power and agency as she does it. I've read about how music critics – male critics, let's be honest – struggled with this record at the time. Records like Blue, which touch on a woman's emotional struggles from a subjective standpoint, were so much easier and more comforting to them, I suppose. I love how she intimidated people, and didn't care. 
There's a great unreleased bootleg of demos of this album, called The Seeding Of Summer Lawns. Joni's got all these jazz cat musicians in, but she's written all these complicated flute and horn parts for them already, and sings them all, as they're all in her head. It's unbelievable. I can't speak highly enough of her, and of this."

"Most of the albums I’ve chosen are from the 1970s – they are ones that moulded my style. So, Wishbone Ash invented twin harmony guitars in heavy rock [they were also a huge influence on Iron Maiden]. I used to go and see them when they played in Leeds or Sheffield or Barnsley – they were on circuit a lot in the early 70s. I was a bass player then, and they had a great bass player [Martin Turner] with a good style, with really cool vocal harmonies. Argus felt groundbreaking – it was a big explosion of rock and Wishbone Ash were a pretty loud band. It was a good grounding for me to learn their songs - this particular album is a concept album so you learned the whole thing. That’s how songs get into your psyche. In Saxon we used the twin guitar harmonies occasionally – we don’t want to copy anybody, but it is a theme, it is in there."

"When I heard this I was just completely floored. I was like 'What the fuck is this?' [Laughs]. Radio was amazing, it was so good. Similarly to Public Enemy, I heard this album and I wanted to know how he did it – I just had no idea how. He was talking my language and speaking to me but in styles I had never heard or experienced before. I wanted to know how he did this. The whole album is fire; the beats were hard and the rhymes were hard. It banged and undoubtedly became the sound of a generation. It was almost like punk rock in sentiment, urban punk rock which is effectively what hip hop is. It didn't matter which part of the world you were from either when you listened to this. The people that got this record were all going through the same shit. The worlds might have been somewhat different, but it was the same oppressive shit and it united people."

"It's very strong. This album makes me cry. It's the first album of Toumani's albums that I listened to and I started crying right away. I didn't know why I was crying. I was crying for happiness, I was crying for sadness. I couldn't explain it. I was crying deeply. That's why I always say that music can heal people, because it can take you somewhere you don't control. Many artists can take me to their world and through their world they can take me to my own world, to my past. For me, crying can heal many things. You can process many experiences that you didn't have time to digest. With time, you digest them and you learn how to heal yourself, to be at peace. Listening to good music, music that you like, you can really help yourself, to heal your soul, step by step, day by day. This record is really deep."

"This is the Keith Sweat album I like the most; you never get a second chance to make a first impression. The production of Teddy Riley… he was just the man. And Keith Sweat is a sexy name. It has a lot of character; it's like he was born to make this record. It was his birthright, just through that name alone. I was in the seventh grade I believe when it came out, and got it straight away. There's a song called 'Right and A Wrong Way' and it starts with these two chords, and then it just goes "BOOM"! Back then, we used to sit and doctor our speakers - I had these house speakers and I took the covers off and rewire them, trying to be technical. I'd lay the speaker down on its back, and I'd sprinkle powder in the woofer just for my own amusement. And then… BOOM! [mimes powder explosion]. That's why I remember that album."