"Huge fan of Marlon Brando. For this man to come out of the shadows playing Don Corleone was just captivating. And it never disappoints; to this day it doesn’t disappoint. That movie is still a spectacle of Americana storytelling with a performance by him which is just inspiring. And he was an inspiring actor, he was certainly somebody who I still go back and watch and… the music, the story, the whole trilogy — It was very much connected to my youth as a young man about to go off to drama school."

"I wanted to pick something from Drag City and I went with Silver Jews because I think David Burman is such a great lyricist. It's funny when someone is alive, it's almost as if you're not allowed to say that about people. He's one of the best writers around. This record starts with the line 'in 1984 I was hospitalised for approaching perfection' [pauses] How much better of a first line can you have on your record?! I have a hobby of taking words and mixing them around. I can do that for a whole day, just taking four words and moving them around and mixing them up, just to find a combination that I think evokes something emotional, but David Burman is on another level. He takes language – nothing that's complicated on the surface – and puts it together in such amazing ways. He'll say things like 'Her hair was shiny like video tape' or 'the water looked like jewelry coming out of the spout', weird things you'd never thought of until he said them but they ring true. When you hear his records, he makes you feel like you've never seen the world before. So I commend him. This record is his Americana record, and I wish this is what people talked about when they use that term. He's a brilliant author explaining his vision of America to you - that should be Americana instead of some weird sappy throwback thing."

"Ives's 114 Songs has been a major source of inspiration for me (particularly for my 69 Love Songs and 50 Song Memoir). But that wasn't all he wrote: from 1887 to 1926 Ives wrote 193 songs, and here they all are on six CDs: lullabies, Christmas carols, German operetta emulations, mortal laments, parlor ballads, cowboy dirges, and even election-day commentary on 'Nov. 2, 1920 (An Election)', and 'Vote for Names! Names! Names!', of which Ives says, ""The [three] pianos represent three political candidates, each uttering his own 'hot air slogan'; the singer represents the disillusioned voter."" The texts come 80% from poets (Keats, Kipling, Oliver Wendell Holmes, and many anonymous sources) and 20% from Ives himself, whose aw-shucks Americana (as on 'Slugging A Vampire') and gleefully jarring harmonies keep the surprises genuinely surprising. "

"Again, it was my Dad who turned me onto The Clash. I fell in love with Combat Rock first and then I ate my way through that band. It was like a goldmine or a candy store. So many of their songs have changed my mind about music lot, but I picked “Death Or Glory” because it was one of their better sounding songs that seems a bit overlooked. I was impressed by the sound of it, there’s acoustic guitars in there and the fidelity sounds good, that was really smooth and appealing. With the acoustic guitars and electric guitars, it was almost pre-dating some of that Americana stuff. It’s so powerful and it’s not super punk. “Death Or Glory” is like a call-to-arms, it sounds triumphant and I love that. The lyrics are great as well – ‘Now every cheap hood strikes a bargain with the world’ it’s great stuff man, Strummer was insane in that way."

"Well that was a big influence for their take on Americana, and I just like the juxtaposition of their extreme Britishness and singing about Oklahoma. And it's funny, Ian Svenonius has this whole thing about how Americans only accepted black music once it was taught to us by our British overlords. The Beatles and The Stones lacked the context to realise that maybe it's inappropriate to take on this Southern accent. I feel like Ray Davies has a little more tact, like, "No, I'm not going to sing like that!" A lot of the time I will sing in a kind of an English accent - not total English, but definitely more English than country, because my context is growing up and listening to The Beatles and thinking I like the way John Lennon sings it. It's easier not to sing a hard "r", it always sounds country when you sing an "arr". I would never do a Jamaican accent. I'll leave that to Sting. Once again, see we forgive Sting, 'cause he doesn't have the context."

"It's a film that my parents introduced me to when I was younger that's by a director called Pasolini. It's a black and white film about the life and times of Jesus Christ. The only words on screen are words from the Bible. So it's a quite direct representation of that particular gospel story, according to Matthew, but it's a really inventive film. The director may have taken the story direct from the Bible, but what he does with the music and editing, as well as the use of non-actors in the film, it's just a really original and moving film. It features scenes where at points you're hearing a gospel song by Odetta, and she's singing a song called, 'Sometimes I Feel Like a Motherless Child' which is this amazing gospel tune. She's singing that to accompany scenes of the children being killed by Herod. The music in the film is very raw. It'll use a song that's going to spell something out literally. I don't know how Pasolini chose all these songs for the film or who was in charge of the music selection. You've got Blind Willie Johnson - the old blues artist - accompanying some of the miracle scenes where people are getting their sight back. It's an exercise in juxtaposing very disparate elements that actually really enhance each other. You have to second guess it though, because of the way it's edited, a scene will suddenly just be chopped really harshly, and the film will move on to something else. All of these things are very powerful - and unusual - devices in film-making. In a way, if it's not too pretentious to say it, some of that harsh editing and juxtaposing with disparate elements on screen with music is something that I feel inspired by in terms of making a record. Things don't always have to fit together neatly, or as you'd expect them to. If you think about it in terms of the Alex Chilton record I mentioned earlier, that album is kind of a guide through rock & roll, country and soul music or Americana if you like, and this one is a guide to raw, blues and gospel as well as a classical take on the gospel. It's a very eclectic soundtrack with music that definitely enhances what's going on on the screen. It's very powerful music in its own right."