"I first started listening to The Slits when I was about 8, with my friend Antonia, and we stole all her brother's Slits records and used to dance around the room pretending we were the Slits. I just picked this because I'm sure it was a huge part of my life. If I could have been any kind of singer, I would have been a punk - I thought I was a little punk growing up! I wanted to be in The Slits, I wanted to be that kind of a woman, but I grew up to be a folk singer, and that's alright too - I like that. It's just the attitude - I hear The Slits and I'm immediately back in that time. It was a one-off period, it was an exciting time and they kind of encapsulated a sense of anarchic joy. The songs are fucking fantastic as well. There's that ska element, punk, reggae and they're British and they're fantastic. I don't know if there's ever been anyone like them since."

"For me it could be every Kinks A-side from 1964 to 1969. Just an amazing run of the most fantastic pop songs. Village Green Preservation Society is obviously a great record, but Face To Face has some fabulous songs on it. It's almost a concept record. I don't think there's any lyrical theme to it, but it's very complete, which a lot of their records weren't before. What a writer, I can't say how much influence [Ray Davies] has had on me. The artistry of condensing all those ideas into a little three-minute song is just fantastic. I'm always still knocked out by that. When I was a kid and I first went to America, in the record shops you could buy all these old Kinks records, stuff I'd never seen or even heard of. So I came back with shitloads of Kinks records and that had a definite influence on [third Jam album] All Mod Cons. Those little story songs, vignettes of English life and English characters. That was a massive influence on me."