"A friend of mine played me the Wu Tang album way before it came out. I was so entrenched and deep into this music shit by then that a lot of music was shared through people I knew and I would subsequently hear a lot of projects in their demo phase. I also got a lot of stuff from attending the underground mix shows: this was one such record. The Friday night mix shows were so special back in the day, especially in breaking new music – and what a record this was to break. It took me multiple listens to realise this was so radically different from anything I'd ever heard previously. Soon enough, I was like 'Yo, this shit is amazing.' Hearing nine different MCs with totally different styles meant that it took a little time for the Wu Tang to settle in: I admit I didn't get it the first time I heard it, but once the record came out and I started hearing it more and more, I knew this was something very special indeed. I had my favourite MCs in the group like everyone did, but as I started to get to know them more and more, I realised this was a group where at least six or seven of the nine MCs could just go off and be platinum selling artists in their own right. How many groups or collectives can you say that of? It wasn't even like a supergroup or something put together specially – these guys just came from the same sort of space as us and they were doing this incredible shit. RZA's production was phenomenal and I admired it so much, especially the concept of the slang, the Kung Fu…it was ridiculous. All the other philosophies behind it too were so special. For me, there was always something for everybody in that band because you have nine entirely different personalities in there and you're going to find something to like out of those nine motherfuckers [laughs]. Everybody had their favourites, me included. The first time I heard it, RZA and GZA were my favourites then as time went on, I liked Raekwon and Ghostface Killah. I saw them a couple of times live, like very early on before they really blew. Their gigs were just pure raw energy and the stage was chaotic and hectic because there's nine people on there with mics doing their own thing. They didn't have the most organised shows but there was this energy that they brought – this wild, fucking crazy ball of energy that they always delivered on the stage. You never really did know what was going to happen next and that was always exciting Ol Dirty Bastard was also one of the most unique characters ever in music. I always look for uniqueness and authenticity in an artist and he just had it in abundance for me. I heard him and thought, 'He's one of a one'. His music had a message of like, 'don't get stuck, free yourself'. It was a powerful message. I don't know if they can ever do something like this again or if something this special will ever exist once more: they had so much powerful energy. It's something very hard to hold together when everyone is going in a bunch of different directions, continually shifting. Yet they did it in that space and in that time: I doubt you can repeat that."

"Amy Winehouse – her music’s amazing, and she was amazing. Such a great loss to the British music industry, and to the world, really. She’s so missed ­– what a gift her music was to us. Often I’ll listen to music ‘cause musically it’s something I love, but although she ticks every box for me, I just loved what Amy was saying lyrically and how she found such a free way to be herself through music. She really took that spirit of jazz and brought it forward to now. I love Back To Black, that was a phenomenal album, but her first album, Frank, had such an edge to it, and such a rawness, that I just fell in love with it. ""I remember when I was first coming to London to do showcases – I was about 16 – the people that managed me at that point were like, ‘you need to hear this girl! She’s signed to Polydor, she’s amazing, she sits and plays guitar and she’s got these really cool songs!’ They were just raving about this girl called Amy. It was so cool that we were in this similar world. ""I remember when I went to Polydor to see if they wanted to sign me, they gave me a couple of her CDs for free. I was so excited to be in London in the first place, and then to be at a record label, then to get a free CD! I was completely gassed, and the fact it was Amy Winehouse was so cool. ""Frank is such a beautiful album and it reminds me of that time. It reminds me of a real freedom, and of feeling so inspired by what she was saying and how she was saying. There seemed to be no rules – every track was a different genre. The one thing sustaining it – the backbone of the whole album – was her and her voice and her lyrical style. That, to me, is the definition of a true artist. No matter what you put out, your style and artistry belongs to you and you’re the one that carries it through. ""With this song, 'Take The Box', it’s so visual. I don’t even think there was a video for the song, but I feel like I’ve seen it! I feel I can see the whole scenario playing: breaking up with someone, and speaking about relationships in such an open, honest way. I think that’s so important for women. You want to sugar-coat things, you want a perfect reality, and sometimes that stops people telling the truth and getting out of relationships they shouldn’t be in. Amy always gave this very frank account of what it was. ""I loved the melody and the topline of this song. I’ve really been trying to take a step back and look at the process of songwriting instead of just delving straight into it. When you get that perfect trilogy of the topline melody, the chords your using, and the lyric making sense at the same time… she did that perfectly with this song: “Your neighbours were screaming / I don't have a key for downstairs”. It’s such a memorable melody, I think that’s the first thing that pulled me in."