"The most undersung songwriting genius ever in British pop. I had the privilege of hanging out with Kirtsy on a number of occasions and I have to say, she was the bomb. We usually got into trouble somewhere along the line. She couldn't understand why she wasn't more popular and nether could I, but this album kinds of explains it really. Songs like '15 Minutes'… she kinda knew that pop would eat itself, and she was too talented and beautiful for the fickle superficial pop world. 'Don't Come The Cowboy With Me Sonny Jim' needs to be covered by a mega country artist. The backing vocals on 'Dancing In Limbo' are sublime and 'Le Foret De Mimosa' makes me cry."

"Like Gregory’s Girl, another movie about a gangly young man struggling to communicate romantically, but through a young Mike Leigh’s harsher lens, all is hopeless. There’s a depressing scene at a disco where Freda Payne’s "Band of Gold" is playing in the background. Trevor stands to the side and refuses to dance while everyone else happily boogies to this upbeat song – upbeat to dance to, but if you’re not dancing and just paying attention to the lyrics, they’re pretty miserable. It’s such a purposeful, subtle touch that is so pure Mike Leigh that it manages to subvert any irony. I can just imagine it being the only song he liked of the disco era. And the titular kiss is pure death."

"I would say Pulp Fiction, for sure. When you are a teenager, I would say, “What the hell is going on? If making movies looks like this, OK, I want to be a director.” Everything was kind of perfect; there was the humor. That’s why I was not just honored and happy to work with [Quentin Tarantino], but crazy happy. [laughs] When he told me he was doing the movie, I was dancing in the streets in Paris for hours. I had a sense of joy, for sure. So I would say Pulp Fiction, for everything we just love in that movie, like the dialogue, the shots, the lights, the actors, the craziness, the freedom of making something so freeing."

"It’s a two-disc of live performances. For the most part, I was never really a fan of live music on records, but this one takes all the Talking Heads songs and it totally improves them. You feel the beat more. It’s a solid buy. If you could just come up on that, the two discs are amazing. It’s almost 40 songs. Every single one of them is really rad. A lot of my music that I like puts energy in your body or makes you want to dance or break something or just go mosh or jump around. This is one of those ones that you can put on in the summertime and next thing you know, you’re dancing by the pool."

"The structure of 'Let There Be More Light' is not conventional. It goes through different things - you think it's going to go one and it goes the other. But much more than this record, before Bill and I started playing together in Body/Head, I found this 1968 live footage of Pink Floyd on YouTube. They were playing and it was almost like people were dancing to abstract music. There were visuals and it was amazing. In 1968, they were doing stuff that we're just doing now. Syd Barrett was sitting down and playing prepared guitar, like Bill does when he does his solo stuff - and other people who play prepared guitars do. That was all really inspiring, originally to the band, I think"