"Raspberry Beret', 'Paisley Park' and the title track was amazing as well. It's a great psychedelic cover, I guess a bit like Sgt. Pepper's…. I love the flute intro on the title track and that was a big goal for the musical - to have each song have this little virtuosic moment, whether it was a harmonised guitar solo or a little flute line or some kind of piano solo. We had a rule that you had to be able to air-play some instrument on any song and if you could do that you could still be excited listening to the album 20 years down the line. It's hard doing fully contemporary music like Yeasayer, where doing something like a guitar solo always seems like a little dated or cheesy - so you want to have that variety, like a saxophone that's going through a weird pedal or being chopped up by a sampler or something, but this was pure "let's get this trumpet solo to be really haunting"."

"I was twenty years old when I first saw it. It terrified me then, and still does.
 The preacher, played by Robert Mitchum, is the most frightening
 psychopath I’ve ever seen depicted. This is the only film directed by Charles Laughton, and its haunting, over-the-top storytelling is reminiscent of Laughton’s own character portrayals. The poetic, expressionistic images are by Stanley Cortez, a true American master who I fortunately came to know many years before his death. Stanley photographed, among others, The Magnificent Ambersons and The Three Faces of Eve, in which his lighting is equally unique. The disturbing orchestral score is by Walter Schumann, who also wrote the Dragnet theme and whose music underlines and drives the horror the way Bernard Herrmann’s does in Psycho. This is one of James Agee’s rare screenplays—another was The African Queen—and it captures America in the Depression as
 well as did his book, Let Us Now Praise Famous Men, with photographs by Walker Evans. The film’s story is an American equivalent of the Brothers Grimm."