"This is another one that really stuck out when I got into psychedelic music. It’s got all the elements. It’s got the distorted, orchestral thing, you’ve got flangers, tape phase and various other production techniques. Again, the vocal is just slightly twee and whimsical, but the rhythm section is like hip-hop. It’s got all of these weird elements, even though, being the late ‘60s, it was way before all of that. There’s stuff in the ‘50s that has phasing and flanging unintentionally, with tape speeds and certainly when they started multi-tracking there was definitely some cases of accidental phasing. But there’s a lot of talk about ‘Rainbow Chaser’ being one of the first examples of a phaser being intentionally used throughout a song. I don’t think there’s a definitive answer to that though. As much as I like this song, I didn’t delve too far down the rabbit hole with Nirvana. It’s very hard with stuff that’s on compilations, because you will go down avenues, but you can’t go down all of them, especially if you’ve got a boxset like the Rubble one, where you’ve got something like six CDs with twenty-odd tracks. I don’t have enough time in the day to do it, and some of it you just can’t get hold of. There probably are pressings of that single with a B-side, or maybe they didn’t do an album that was released. Because, believe it or not, not everything is on Spotify or Apple Music!"

"This was on the soundtrack of Luke Cage, which me and my missus watched quite a lot, it’s a cool series and there’s great music on that show. I first heard this track years ago, but when I heard it again on Luke Cage it reminded me to go and root out the record. “It’s a beautiful snippet of a sort of souly… actually ‘souly’ is the wrong word, I don’t like the word souly, it gives me the wrong image! It’s a beautiful little instrumental moment with these wonderful female vocals doing their thing, they’re almost like Disney vocals. ‘Cristo Redentor’ is a really cool bit of music, I hear something like this and I get inspired and think ‘I want to have a female vocal that does that kind of thing’ or ‘I want that air and space to the bass guitar’, where it sounds like it’s not just DI’ed in but it’s got this roominess to it. It’s quite often sonic things that I hear; where I’ll hear something and think it’s right up my street sonically or it’s the combination of instruments. “There’s such a great tone and vibe to this. I was listening to stuff like this when I was making the record, these sort of moments, like how Hip Hop uses old moments from soul records, that kind of approach. I think production-wise a lot of that stuff is amazing, there’s instruments like glockenspiels and it’s quite orchestral but with this great undertone - it’s different, there’s a dirty rawness about it."

"I think initially I almost had a resistance to wanting to like Blonde because of how hyped it was, but when I finally heard it I could see through all the hype about Frank Ocean, it was just refreshing to hear. Me and my wife listened to it on a long drive home and we loved it, it was the first time I’d heard him and I thought it was a really cool, really experimental record. I haven’t grown up listening to Hip Hop, I’m kind of rooted in other things, but Blonde really spoke to me and I could really hook onto it stylistically. “It was similar with Beyoncé’s Lemonade, that was really hyped as well, but she did this quite odd record. From what I understand the way it was constructed was editing lots of bits together and that’s how I made my record, from a solo artists point of view it’s a lot more about piecing things together. I found both Blonde and Lemonade really inspiring even though on paper they’re not my genre. “‘Nights’ is a really good song. I really like his subtlety, the way he doesn’t overcook it and I thought that was really different. Blonde is an inspiration for how to make and approach a record. He’s not just relying on a single or four big hits to sell the album or to get the point across. It’s a complete record, it’s got weird little segue-ways and tracks that aren’t particularly commercial, they’re a bit weird and that really spoke to me.”"

"I liked the intro really, it was so inspiring. ""I'm forty-fifth generation Roman,"" where did he come up with that?! Hip hop is massive in Nottingham. There's a massive black community, it's a multicultural city and people just mingle, you know, and share ideas. People were not sure about this idea of a white guy rapping. Even white guys were not sure about it. He's not rapping really - well he is, but he isn't. But you couldn't deny it really, it's all great. The second track, 'Has It Come To This', that kind of dubstep, garage thing. I never even listened to the second album. White people rapping, it needs to be done well. No offense to the guy, but I wouldn't view Professor Green as the same thing, it's more Americanised. Jake Bugg tried to do it on his last album and it just sounded terrible, what was he doing? I can understand him being inspired by stuff, but he needs to check himself. I liked the dry high street observations on this album, the stuff about eating a fry up in a greasy spoon. The stuff that would warm you to him straight away - fried tomatoes, scrambled eggs. That conversation he has with his dad: ""Hold it down son…"" We all do it, ""No, I'm going to be alright, it will work out."" I listened to this when it came out. I was still doing folky and acoustic stuff at this time, it wasn't very good. It took years for me to think about doing something like this. For a long time I thought it was out of my reach, I thought I couldn't do it."

"This was the point where I did start to accept there were other kinds of music than the stuff I’d grown up with. Because I’d listened to so much hip hop and soul, I was very dismissive, even of Bowie. I never began to negotiate with that until I was much older. A real Velvet underground obsessive is less favourable to this album because it’s less pure in their eyes than the cold, earlier stuff, but it’s the first one that got me and drew me into that kind of music. It’s soulful as well. Lou Reed is brilliant. He’s a cunt, but he’s brilliant. I met him once, I did a TV show with him, Metallica and Lana Del Rey in France. It was the most awful panel of people I’d ever had to sit with. The only person that was nice was Lars from Metallica. They lined us all up and we had to stand and look as if we were all bonding. Lou Reed was like a melted mannequin, he had about four breaths left in him, while Lana Del Rey looked like someone had kidnapped everyone she knew. Lars had been to so many AA meetings he was all ‘Oh hey! So nice to meet you!’ Weirdly enough Lou and dad had a bit of a history, because dad’s only tour of America was with Lou Reed and they really hated each other. Lou hated everybody arbitrarily, and dad just hated America. I think that tour ended because dad knew Rod Stewart and Ronnie Wood and they met them in LA. He complained about Lou Reed, so Rod Stewart and Ronnie Wood went and de-tuned all of Lou Reed’s guitars."

"I'm pretty good friends with Egon who was the A&R guy for Stones Throw. Maybe it's no wonder the albums leaked in unfinished form because he'd send me beat tapes that J Dilla and Madlib would make. You'd get his CD with hundreds of tracks from J Dilla - they're all online now - and the same kind of thing for Madlib. You got the sense that those guys were always making beats. And when Donuts got released, it basically had all the best stuff from those beat tapes. But it's amazing to me how coherent they are and how well they work as an album - from what were seemingly unrelated two-minute snippets of instrumental hip-hop loops. It resonates with me as an album. It's turned me on to so much of the music that he sampled. At the time I was really into finding records with drum breaks and records with samples - that's how I made a lot of my music back then, was out of those records. He got me into that Dionne Warwick track 'You're Gonna Need Me' that he samples on Donuts. That's such an amazing track and he turned me on to that. He turned me on to the Eddie Kendricks record, People… Hold On, which is another one of my absolutely favourite records. He got me back into 10cc. It's also that aspect, of being a doorway into other things. We were on tour loads that year and we never, ever listened to music as a band. There was either silence, or people working on their own music on headphones or listening to stuff or doing whatever. But those two records [Donuts and Madvillainy] we could agree upon, and we'd listen to them over and over."