"Donald Fagen's solo album is another of those albums that kind of teaches you what it is to be a songwriter. I feel like Donald Fagen did Aja for the musicians, and The Nightfly is for the songwriter. It's very much a concentrated idea. I remember getting turned on to this album by my home girl at the time; she was very much a muso. I would spend a lot of time listening to Steely Dan, and I didn't connect the dots – sometimes you don't connect them on your own. I had to be somewhere between 18 and 22 – somewhere in those years – she played me that album and I remember again, whenever I heard somebody create progressional music that are not normal choices, it always would perk my ears up, if it was somebody that would tastefully do something different or make some really outlandish choices, and Donald Fagen is the king of that. The Nightfly is one of those albums that I can't live without, that is where I come from as a songwriter. That again definitively is what created the songwriter in me, as compared to the bass player. The choice of the covers, the jazz covers, they feel like they were his songs, the way that he's playing them on the album – he made them real special. It was like it told his actual story of who he was, and I feel like that's the way you're supposed to play standards, not the part where you just learn it because it's cool. I think that there's some emotional connection that Donald Fagen had to these songs that he chose, along with the ones that he wrote on this album, and you can feel it. You can feel it. You can feel it. The Nightfly is a definitive album for me."

"Romeo and Juliet is on my list because I saw it when I was at a very formative age. I think I was 14 or 15, and at that age, girls are very dramatic about romance and they’re just starting to get those feelings, and love is very painful and very important. It’s overwhelming and you have these huge crushes, and so Romeo and Juliet is all about that huge first love. And you couldn’t have found two more beautiful teenagers than Olivia Hussey and Leonard Whiting… and that was the first time I had ever seen Michael York and he was stunning — he was stunning. The costumes were gorgeous. Zeffirelli was a beautiful artist. He designed theater and opera and sets, so it was just beautiful. I think why I love Italy so much now is because of that movie, and it made me fall in love with Shakespeare. That’s one of the first times that Shakespeare became not just some dusty old English thing that you had to study in school, but it became really alive. You know what else did that really well? Kenneth Branagh’s Hamlet… So, Romeo and Juliet was my first introduction. I walked around pretending I was Olivia Hussey. I had my long dark hair parted in the middle, and we had these, like, hippie baby-doll blouses that had the empire waist, so I would wear that all the time and I’d sorta stare at myself in the mirror. Of course, there was nobody in Cleveland, OH who looked anything like Leonard Whiting, so it was all in my head."

"They're a funny band, Man, because they were always on the fringes of being really successful but they didn't really hit the big time. But they did well in America, and for this, the line-up had changed a tiny bit and it causes a lot of conjecture among their fans, but it's just beautiful. Actually, I've got a sneaking feeling that My Morning Jacket must be fans of Man, because there's stuff on Welsh-Connection which sounds very much like MMJ on their album Circuital. The cover is a mock-up of the French Connection movie poster, so you can sense the mood of everything, but the actual song 'The Welsh Connection' is just amazing. There's a certain 70s, deep-brown and depressed mood to it, but it kind of flies as well. It's what you imagine the 70s to be like; you imagine them being devoid of fantasy, so you had to lift yourself above the strikes and the power cuts and the joblessness and the overcooked beige food. You imagine that there's no fantasy for you to actually plough, and you've gotta just rise above it and try and dream. That's why I love this record; it feels like you're floating above reality and the brownness of the 70s, and it's trying to get somewhere. I've always found Man intriguing, because they're a west Walian band but they were making music that was very much competing with some of the best American West Coast prog-rock bands or rock bands, and I always find that intriguing - when a band tapped into something that was not of their typography or geographical situation. It's just a beautiful record, and a lot of their fans don't actually think it's their best, but I think it's their best by a mile."

"I’m a huge Oasis fan. I saw Supersonic a couple of months ago and I loved it. I like seeing Liam and Noel interact when they talk to each other because they’re clearly brothers, they go at each other and they’re funny, some of what they say is really articulate, some of it is completely at loggerheads. I remember I was in Los Angeles, heading to the studio listening to the K-Rock radio station and they said “Here’s the new song by a British band called Oasis” and ‘Live Forever’ came on and I just loved it, I turned it up really loud in the car. It’s the guitar riff and the sentiment behind the lyrics, but the second I heard Liam singing he was just going for it. He’s got one of the greatest rock voices there is, there’s a kind of sneer almost in the way he sings, it’s all attitude. Live Forever’ was my first impression of Oasis and it’s the template for what makes Oasis sound like Oasis. I love the tone and Noel’s guitar and I like the chord progression, but to me what makes Oasis Oasis is Liam’s singing. The songs that Noel sang are lovely, but he doesn’t have that same bravado that Liam has. It was a combination of the two of them, but it definitely needed Liam’s vocals out front and centre for the kind of attitude and swagger that he would bring to the song. Again, when I heard it I was ‘damn, I wish I’d written that song.’ It’s got a killer guitar riff and the chord progression is good. It’s dead simple and like most Oasis songs they’re not trying to reinvent the wheel, in fact usually Noel would admit he was just trying to write a good Beatles rip-off song!"

"I thought I don't like it as much as the one I mentioned before, and maybe I still don't, but then once I heard it in the 'phones again, there's something. Then I was listening to that one a lot in the car when I was driving around LA. It just opens your mind. It's undeniable music, untouchable music. Those three people, you just can't really touch them. If you were supposed to pick the greatest musician in the world, I suppose I would have to say John Coltrane. But they're all lumped together because obviously Alice Coltrane does things that John Coltrane can't; same with Pharoah Sanders, it's an extension of John Coltrane. They were put on this planet, they were special beings. I'd appreciated jazz since high school, I played in the jazz band. Then I got some jazz records and enjoyed them, for sure. Growing up, I think the Miles Davis later records hit me first, when I was a late teen, early twenties, Bitches Brew, the classics like Kind Of Blue, and then someone in Boston that I knew turned me on to In A Silent Way, which I really like, it had that Fender Rhodes on it and Chick Corea. But then I read the Miles Davis autobiography, circa 2004: that's like a lesson in jazz in a way, in his cocky way; he saw it all. I remember when I was in Boston, I bought this Thelonius Monk record, Underground, and there's a scatty song on there called 'In Walked Bud' and that always blew my mind. I got heavy back into jazz, and then back into Coltrane circa 2005, 06, 07, I just had some resurgence recently."