"There's so much of his stuff I could have chosen. The reason I chose this one is, this was the first time I heard this band. I remember sitting in the car with my friend and saying "my mate's given me this tape, let's check it out". And I put it on and we both just looked at each other and went, "Oh my God!". I'll never forget it. It was a day like today, really sunny, and this giant doorway that you didn't know was there opened up, introducing you to this whole new world. It still feels like that now. He's another one where the colours never fade. The thing about the two as well, Coltrane and Miles Davis, is that they both represent two parts of myself. I always think of Coltrane as being outdoors music. Organic, countryside music. Elvin Jones [drummer in John Coltrane quartet], just sounds like waves crashing against the shore, the wind blowing in the trees. The music feels like this stormy day and then Miles Davis feels really urban, like city lights. When I was discovering this whole Coltrane thing, there were quite a few years where that was my religion. When I was learning the saxophone, I was studying a lot, practising 12 hours a day, and listening to Coltrane all the time and I was doing a lot of meditation as well. I was really involved with Tibetan Buddhism, doing retreats and doing a lot of study. I was very into it for quite a number of years. I've come out of that feeling like these pentatonics, these Nubian rhythms, these ancient rhythms, they make a lot of sense of the universe."

"It's one of my favourite concept albums, one of my favourite psychedelic albums, one of my favourite albums from that period full stop. I don't really know what the story to it is, I've never really bothered to figure it out, I just think The Pretty Things are one of the coolest bands of all time. There's something so edgy about their take on British Brian Wilson-influenced music. I love Odessey and Oracle, and I love all the more famous concept albums, but there's something about S.F. Sorrow that feels so much more rock 'n' roll, there's something about the way that they play that feels like punk rock for its time. They just have a real cool edgy energy, but at the same time it's sophisticated and lush. Obviously there were a lot of different bands experimenting in England at that time, but this is special to me because it feels more glib and more flippant, and less precious. It's well thought through but it has a useful punk edge that puts them in another class. I think one of the first times I really got into this album and realised what a masterpiece it is was ten or eleven years ago when I first met my girlfriend Charlotte. We went up with a few friends to a farm in Pennsylvania. It was the first time Charlotte and I kissed, it was a very magical lost country weekend. I remember hearing this record a lot that weekend. I already knew about The Zombies' Odessey and Oracle and I was a huge Beach Boys fan, but I didn't realise that the Pretty Things had done something so complete. They were leading the way, they were ahead of their time and not just copying the others, they were setting the bar."