"What don't I say about Aja? We all have our different experiences with Walter Becker and Donald Fagen, but everything that they've created throughout the years is really awesome. I have a few albums of theirs I love; Can't Buy A Thrill, Katy Lied, Pretzel Logic, but there's a number of reasons why I am totally in love with Aja. It stems from the personnel, the feel, and how much it was a stab in another direction of pop culture. It was anti-pop, it was a bit on the outskirts of everything, I think. It's always funny listening to Donald Fagen singing about stuff because it's like, 'what's the guy rambling on about?' sometimes. A couple of my favourite musicians are on it; like Steve Gadd and, again, Michael McDonald. When I realised this was Michael McDonald singing background I lost my fucking mind, like, straight up. I always loved the Doobie Brothers and I knew his hits because of hip hop and stuff, but I remember being like 'Who's this magical person singing these dissonant chords behind the changes with ease with this weird timbre of voice?' – and you look at the credits and of course it's Michael McDonald. Aja, if I can't listen to it in its entirety then I get mad; I get pissed because I want to go through the whole album every time. One of my favourite moments on the album is Steve Gadd playing out on actual song 'Aja'; the way that just like the drum feels and everything – I don't know how to play drums but I love to try to act like I play drums to that one moment when he takes a slight solo at the end. Steve Gadd was always one of my favourite drummers ever because of the choices of records and stuff that he would do. Aja is he was he was one of those moments that it spanned out to everybody at that point. It was like at the height of their popularity. That was what happened and it was perfect."

"I listened to that record non-stop, it was a record that was in my house when I was really small and I knew the whole thing back and forward by the time I was six years old, as that's one of the many times we moved. I remember listening to the song 'So Far Away' in our station wagon as it pulled away from my neighbourhood and waving goodbye to my best friend. Throughout my life I've had a different favourite song on that record for a different reason and it sort of stayed with me. When I was a karaoke host, one of the first songs I did was 'I Feel The Earth Move'. I think her story is so interesting, too, of starting out as a songwriter and not feeling confident and then deciding to put out her own songs with her own voice. That was a really empowering story when I finally learnt it. I just thought she was this cool, powerful '70s woman with her curly hair and swirly skirts. I found her fascinating as a person as well, like a role model. She played piano, sang and wrote the songs, and everyone knew that, it was really implicit at the time, that it was her album. A lot of singers, male and female, were singing songs written by other people and Carole King had been writing songs for those people, then this album was like, "I'm writing it for myself." I didn't know she wrote 'Will You Love Me Tomorrow?' until I heard her sing it and her version was so different than the popular version that I'd heard and I was like, "Wow!" It was a great album in the vein of Thriller – every song on that record could be a hit. And it was like she made it; I knew a woman made it from start to finish and I knew I could write songs. It was something that everybody had that was very popular that actually still holds water and it's really good."

"I really like songs that are storytelling in a way and The Kinks are great at that. “Waterloo Sunset” in particular sparked a lot of images in my mind about how you write songs and the way that melodies flow. “I think the best songs make you feel a certain way, and it’s a bit more than just the lyric really. The lyrics for “Waterloo Sunset” are brilliant but the song makes you feel like there’s a longing for a lost moment. I love the idea of two people meeting in a crowd, but with the whole atmosphere of the song, as soon as I hear it, I slip back into it and it just overwhelms me. ""There’s also a beautiful lost story within the song, the tale of a city and a river. I read that Ray Davies originally called it “Liverpool Sunset”, from when he was on tour in Liverpool and then later he changed it. “I was pretty obsessed with music from when I was quite young, and I still listen to music an awful lot. I don’t listen to these songs much anymore, but when I hear them, I love them. I think on my musical journey and absorbing that stuff, The Beatles and The Kinks were very much the beginning of it. I’m definitely sticking in an era here!"

"Like The 400 Blows it’s incredibly personal, but as opposed to naturalism it’s much more expressionist; the whole mix of reality, memory, and real fantasy — the character’s fantasy versus the movie fantasy that’s unfolding through the real-time story. The character being a director making a movie, and how it all gets jumbled together and mixed together … to me it creates this amazing concept, that a person’s identity isn’t just one fixed thing. It’s actually — and this is very Fellini-esque — like a carousel of several things that are just always changing and swapping around. You don’t only have one identity, you have several of them, and they’re always changing and you’re always trying to satisfy all of them. Hence, we’re never happy and we never get it right, and it’s all very confusing. But you know, for Fellini, 8 ½ is incredibly optimistic in its own humanistic viewpoint on the beauty of that, as opposed to being smothered and depressed by the realization that this character will never be satisfied and is always disappointing other people. There’s an embrace of the life around him that I find really beautiful. I guess people can say it’s sentimental, but I think he earns it by the end of the movie because it explores so many truthful, and often dark, corners of the human soul."

"It would have been very disingenuous of me not to acknowledge the enormous impact The Beatles have had on music and pop culture. They were lucky enough to be around at a time when people were pioneering with electric guitars and trying out different things and forming what pop music was. The Beatles were the best at it and the masterpiece is ‘The White Album’ because you get to hear them experimenting and going a little further out into the deeper water. Some of the McCartney songs are great, things like ‘Blackbird’, but the Lennon songs – ‘Happiness Is A Warm Gun’ and ‘I’m So Tired’ – are magnificent. ‘I’m So Tired’ is one of those songs I relate to more than any. Certain songs suit our personalities or our way of being. With ‘I’m So Tired’ I’ve been in that position so many times; sleepless nights from jet-lag or too many things going on in my head. Lennon had this unbelievably effortless ability of capturing things and writing that postcard that would become a song. That album is filled with those gems. Of all the things they did, that album is by far my favourite. It’s the most experimental. It made me think you can do what you like with an album, it’s just an experience. Other people were just writing songs; The Beatles were addressing a much broader perspective."