"I could've picked anything by Roxy but Siren is just incredible; there isn't a bad track on the whole thing. That album was the last before they went lounge. The suits came a bit later. On Siren he was still dressed like an army guy - well, a cub scout without the hat on. I never saw Roxy live until 2001 though - I only ever saw them on the telly. 'Love Is A Drug' and 'Both Ends Burning' are great singles, they had so much oomph. And 'Whirlwind'- what a song - just a hugely consistent record from start to finish. Very well played and very well produced."

"I listen to this record all the way through - even 'Moby Dick'. To me it encapsulates the Led Zeppelin sound, because the engineering on it is so magnificent. The fact that a four-piece band can sound so vast. Obviously there are great tracks on III and IV. But I feel that II is the most complete album. It's amazing to find out they recorded it mostly on tour. Extraordinary. It sounds like it was recorded in one room. I think it's accounted for by the fact they just sound like that. They just sound that magnificent. I was not a huge fan of the first album. I remember reading the story about how, I think it was Glyn Johns again, the story about him playing it to George Harrison, and George Harrison didn't really get it. I wonder if he had played him Zeppelin II he'd have got it. I is not my favourite. On II it felt fully realised. They'd pulled away from that influence of blues; it was still there, but they'd merged it into their own thing. Which again I think is something that people don't associate with Simply Red – we've been enormously influenced by African American music, but we've been influenced by it from a different era. The marriage between black and white started with Bing Crosby and Frank Sinatra and George Gershwin and all these people that ran through music, right through to Elvis, to Jagger, to Robert Plant – we've all in our own ways been enormously influenced by African American music. But the real thing to celebrate is that we made something different out of it. We didn't just copy it. The British especially turned it into something else. It became what we now know as rock music. The Beatles and the Stones are the people who can justifiably claim to have invented what we know as rock music. Not rock & roll, not R&B, not blues, but rock. And that is something to celebrate."

"It's the first record produced by Stevie Wonder, and one where he plays everything himself. The contract he signed with Motown meant that he would be in complete control. There may be other albums by him where he's more consistent. Or maybe they're more classic. But it's the approach to that record, and the sound that I love. 'Love Having You Around' is one of my favourite Stevie Wonder songs. The whole record has this funkiness to it, and his drumming is unlike any other drummer I've heard. He speeds up and slows down on the track. On 'Love Having You… he's just really grooving, because he's playing music with himself. It's not done to a click track. That kind of movement and the grooves are the things I like most in the music - that's something I think about a lot when making music as well, I'm always trying to get away from using a click track. It can be much more exciting to have things constantly speeding up and slowing down. There's just something about people doing records on their own that I really like. I remember when I heard this for the first time, and it was so distorted, and maybe there was a vocoder being used. The first time I put it in, I was thinking that maybe they'd put the wrong CD in the box - maybe a Jeff Beck one, something more bluesy! I really liked that in itself. Stevie's experimenting! There's a real playfulness about this, that I try to have in the music-making that I do! It's having the confidence to play around and being aware that you might stumble on to something."

"I didn’t know there were films that represented the things represented in this film. I didn’t know you could do that. People didn’t think you could do that when this film came out. I always ask myself: how macabre can we go, how graphic can we go, how dark can we go. And the commitment of these actors to the horror that they’re subjected to in this film—you can’t fake that stuff; it’s happening. This nudity is happening, this scatological stuff . . . I don’t know how much of that stuff was happening, but it’s just pure terror and pure excess. There’s also something unwittingly seductive about the beautiful, heightened elements of the film. There aren’t many films that communicate the dangers and trespasses of fascism better than this one. The terror is not in some externalized war story, it’s something that is very domestic and very tangible. You can’t forget a film like Salò, and the shock and the horror of it make such an effective medium for its serious political themes. I think it kind of shares that with Assassination Nation."