"This was probably the most important pop album for me in that I think it's the moment where I realised that I could be a musician. It was partly that this band was semi-non-musicians, but it was also because the songs borrowed a lot from what I knew about experimental music at the time. I'd been playing experimental music with various outfits in England and with Morton Feldman and Christian Wolff and all these people that had come over from America to visit us, 32 people who were into the experimental music scene in England. La Monte Young was one of the big figures in everybody's cosmology at the time and The Velvets, both Lou [Reed] and John [Cale], had worked with La Monte. So the first album came out, I thought, ""Fantastic, amazing."" Second album I thought, ""Great, amazing."" But the third album was the one that really killed me. The first album was quite wild and dark and weird, the second album was mad and intense. But the third album was so gentle and beautiful, but because you knew their history there was that undertone of violence and rage, something trying to burst out. Even on the love songs on this – and many of them are love songs – you hear that real tension. What made me think I could do it too was that the songs were simple and the playing was so simple. There's very little artifice at all in this. But also the mood was something that I thought I could kind of connect to. The difficult thing about pop music as I was growing up, and I was 20, I think, when I first heard this, was that it dealt with young teenage emotions mostly, and that just wasn't interesting to me. I loved the music but what the songs were about was sort of childish and it was all about 'me' and 'you' and 'love', and I just wasn't interested in that really. At the same time I'd been working with Cornelius Cardew and all these kind of quite heavyweight experimental composers. But I didn't want just that. I wanted that [pop music] and that [experimental]. So I was always looking for anywhere that somebody was making some blends that started to be interesting. I didn't own this record for years and years. I just didn't buy this album because I never wanted it to become casual for me. I bought this one about five years ago. I never owned it before then. I would only hear it at other people's places because I always wanted it to be special."

"Aretha is another phenomenon. The thing I love, now that we have YouTube, is watching the divas talk about one another. There seems to be this real respect for one another, and a real hierarchy! Every diva knew that Aretha was the queen, and she would give her blessing to the others. I love that there was this order! ""Aretha – she’s amazing – with her roots in gospel music. That was such a big influence to me. I loved listening to her gospel album, and you can really see where the freedom that you hear in her pop songs comes from. They’re riffing and she’s letting the Spirit take over her, and she’s so good at playing piano that it translates into the keys as well, similar to how it did with Nina. There are lots of different versions of “Amazing Grace” out there, but I really felt like the lyric had this new gravitas once I’d heard her sing it. ""Recently I went to see the movie Amazing Grace, about the recording of her gospel album. To actually see footage of her giving that performance was pretty mind-blowing. She’s just in the moment; sweating from the energy she’s giving the crowd, and the choir! It was a beautiful moment to watch, and Aretha will forever be a massive influence in everything that I do. ""My Dad is Zambian, and when I go and visit, my aunties and my Grandma and cousins often sing together. The harmonies and the ensemble gives me the same feeling as when I hear gospel music. If you’re ignoring or suppressing emotions, this music and these sounds will just pull everything up and give you this incredible cleansing. ""There’s something about gospel music. When I was younger and listening to the divas, I hadn’t really heard much gospel music. My Dad played me a Kirk Franklin album, and for me initially, it was just the crunch of the chords that the choir was singing and this mass of people singing so perfectly in such unusual harmonies, and then on top of that, these are people singing with belief they’re singing to God. ""When I step inside a church, I feel different. I think it’s just the energy and the intention that people are singing with and have come together in. Whatever faith you have, I think that makes a world of difference. Gospel music is just such a special, higher form of music for me, and it can really make me so emotional. It’s such a great thing that, regardless of your beliefs, we can still come together through music and vibrations of love."