"I chose that because it made its biggest impact on me, because it was the first one I heard [of all of Cat Power's albums]. I remember hearing 'I Found A Reason', which was her Velvet Underground cover, on John Peel late at night when I was driving around and having a cigarette when I shouldn't have been. And I heard John Peel saying ""listen to this amazing release by Cat Power, 'I Found A Reason'"". I just remember hearing it and being like this is a woman I can love forever. I went to see her promote The Covers Record at this tiny gig at Bush Hall. She went on stage in front of maybe 100 people and then totally freaked out, then she was fine and she played some amazing songs and me and my boyfriend sat right at the front. We got to meet her and she just cuddled us: ""You sent such good vibes throughout the whole show, I was looking at you the whole time because was everybody else was so scary"", and I was just like ""I love you!"" So it was just interesting; the other reason I chose The Covers Record is because her interpretations of 'Wild Is The Wind' or 'Satisfaction', 'Sea Of Love', it's like picking out classic songs, like The Langley Schools Music Project, and turning them on their head. For me, in 'Wild Is The Wind', that song could be David Bowie's version, it's sad, it's quite mellow, but she's just distilled it down to one particular aspect, which is really heartbreaking, dark chords, really so minimal. I love doing covers myself. I love changing your whole take on them and exploring a completely different side and changing the arrangements, and the chords even, and changing the lyrics sometimes, it almost becomes a poem that you're putting to something different. I think she's a connoisseur at that and probably because she doesn't play amazing piano and guitar, she does really simple backing, but it becomes almost like this spoken word poem. When she performs, she pushes herself to the edge. The fact that she finds it so hard, you're living with her on the edge when you go to see her and sometimes it's frustrating and you get fed up with her, sometimes you're just willing her the whole way through and in love. I think it's really interesting, the emotions it brings up in the audience, how they deal with that - some people get really fucking angry and some people cry. I think it's like a really interesting psychological public experiment at some of her shows I've been to - I've been to maybe twenty of her shows, and sometimes it's a very uncomfortable, strange process, but it's like Andy Kaufman and stand-up comedians or public artists that just stage these really bizarre events and people's reactions to those. With most people, you go along, and they're there to put on a show and be competent and be amazing, and that's what people think they're paying for these days. We've said about the Langley Schools thing, she never grew out of that childlike weirdness; there's something about all of it that's unapologetic and being you, and if that presses people's buttons because they want you to be something else, they want you to carry them through, then I find that really interesting as well, what it does to the listener. What do you want from an album or a musician? What I want is to be taken to their rawest place. If that's uncomfortable sometimes, then that's cool. You just have to be with people and accept them."

"I’m on the Wikipedia page of this song? There you go, at least I’m consistent! I’ve obviously talked about it before, but I’ve not really talked about it very much. I can’t really divorce ‘Coconut Grove’ from early 1984, when The Smiths were just getting going. I loved the song then and I still love it now, it’s very evocative, but the reason I brought it up is actually to talk more about what it meant in my life, rather than the actual song. “We’d put out our first album at the start of 1983 and it took off, ‘This Charming Man’ was a hit and my life was really blooming into something kind of incredible for an 18 year old. Without getting too immodest, we seemed to be on everybody’s lips, certainly with young people and their parents were talking about us as well. We were ticking the boxes we wanted to tick; some parents were confused and little bit threatened by us and other people thought we were the bee’s knees. It wasn’t just about getting fame, it was the kind of fame that we really wanted, from kids and fans of what was going to be called indie music and it felt really intoxicating. “I’d been living at our manager Joe Moss’s house and because we were doing these gigs and coming back so late, Janet, who was Joe’s wife - and they had a little toddler - was probably getting so tired of these teenagers her husband had started to look after. He’d never managed a band before, so it wasn’t like he was this big shot manager, he ran a clothes shop and suddenly I was living in their house and giving Coca-Cola to their toddler Ivan, who I still know really well. With this back and forward of bringing the gear in at two in the morning she very kindly said “Look, I’ve got this cottage out in the hills in Manchester…” I would never have gone there in a million years, but essentially she was booting me out of the house! She said “You go and move, I’ll drive you there.” And I thought “Great, I’ve got these digs of my own, this little cottage.” “So all of this stuff was happening. Me and my band were getting in a van and coming down to London, playing at Dingwalls, opening for The Sisters of Mercy, we were the talk of the town and we were getting on Top of The Pops, it was a really heady time. I’d never been reviewed before but because I was playing a Rickenbacker and the sound of my guitar playing everyone was saying ‘He sounds like The Byrds.’ I didn’t know The Byrds very well but through them I got into The Lovin' Spoonful and the whole New York, East Coast folk-rock vibe. “We’d go and do these gigs, drive back and then in this cottage I’d moved into with my mate Andrew Berry I’d eat loads of acid and listen to ‘Coconut Grove’ over and over again, probably two hundred times. The neighbours must have thought I’d died and left the record on. “So that’s what it means to me, it was an idyllic time in my life and I had this really strong love for my mates, who were the band, I think we all felt the same way about each other. Because we got fame, our roles were being defined by ourselves to keep it going and by outside forces and I was very protective of them. We were all pretty streetwise, but I was kind of the chatty, resourceful one who was making things happen and who looked after everybody. I was growing into that role and I was only eighteen. “I called this period ‘The Heatwave’ in my book and you know what a heatwave feels like? Well it felt like that for about a year, I was in a heatwave and that’s ‘Coconut Grove.’ It sounds great on a very hot day, on acid."