"He's new to me, a Londoner, and relatively recent. Again I fall back on the challenge of digging through so many day-to-day musical releases in that grandiose search for something satisfying. This came as a pleasant surprise, without any backstory whatsoever. I first came as a visitor to London in the ‘70s and it was a period of discovery. London was probably the liveliest place to experience something new. Here it's probably the lyrical content and a consistency that strikes me most. Some people can even find messaging musical offerings that have no singer whatsoever: it's messaging. I think that's a good word. 

I was just wrapping up an appearance where I bumped into the great guitarist Steve Cropper from Booker T. & The M.G.'s and of course they were the backing band for so many of the great artists on the Stax label. I said, ""Gee, Steve, the Stax records had a remarkable sound. Release by release they had a consistency you could identify. How did you dream up the idea?"" And he said, ""Well… we didn't. I agree that the Stax records have a recognisable character. But the studio in Memphis was in one of the most dangerous neighbourhoods. To avoid having the gear stolen after a probable break-in, we nailed everything to the floor!""

"She’s a later discovery, a totally obscure person. I was reading about her just to prepare for this, because I’ve been listening to this record for ages, and on Wikipedia it said that somebody gave a copy to J Mascis and he gave it to someone to release it. I didn’t realise that at all, that he brought it to some record label’s attention, but that’s a record that I’ve been listening to a long time, it’s a really beautiful record I think. I have chosen Songs of Love & Hate by Leonard Cohen and Ladies of the Canyon by Joni Mitchell but this record is right in that same period of beautiful singer/songwriter records. They’re not band records, they’re personal records, they’re kind of like somebody’s journal or notebook. Those records always felt like a window opening into somebody’s life where you kind of spent an hour or forty five minutes of someone telling you about their life and the different things they see and the different ways they look at the world and if it resonated with you it became this… I just thought that Sibylle Baier was in the same canon as all those albums from that period that made an impression on me. Like early Dylan or a Nick Drake record or something. Colour Green is just as powerful for me."