"I can't say this about every song on this list, but with this one I was quite aware of what the band were doing when it came out. I wouldn't say Public Enemy are my favourite band, but it's pretty close, and when this record was released, they were the most important group in the world as far as I was concerned. ""They were the most interesting, the most intelligent, and at the time, nobody was more controversial than Chuck D. They were so original; they were breaking new ground with every recording. Before It Takes a Nation of Millions to Hold Us Back, there just wan't music like this. ""That record came out six months before Fear of a Black Planet, and it still felt so sharply of its time because Chuck was talking about everything he'd gone through in the months leading up to it - the controversy with Professor Griff, and everything else. Later on, he said something like, ""Public Enemy is CNN for black people,"" and you get that with this song. It's totally brutal, totally brilliant, and totally of the moment. In the winter of 1990, they just meant everything. ""I've put this one on plenty of mixtapes. Plus, is that a Frankie Goes to Hollywood reference in the title? It's got to be, right?"

"I think the production on this - who did she work with? But she used things like forks and - oh yes, it was Matthew Herbert! - and so when I first heard it I thought it was a bit mental, but it's really not mental once I had lived with it for a bit. A lot of it's really poppy and the last song is a ballad that's just heartbreaking. Talk about the radio not playing things, how could they not play this? Her style of singing really influenced mine on a track I did called 'Jealousy', and I'm basically trying to sing like her. When I listened back to the demo, I'd done a pretty good impression of Róisín Murphy! It's just her delivery, and she's really brave and I think that record was exactly the record I needed to hear. It wasn't necessarily what the record company wanted, and that's why I love it. It came out, and I don't know where it charted, but I would hear bits of it on TV over the next three years. And then five years after it came out, So You Think You Can Dance did a massive thing to it. And it warms my heart that music that is genuinely great does get to have a life beyond the chart and starts getting into the ether."

"When we were talking earlier about a record accidentally affecting a whole community of musicians in a particular town, this is a record which came out on the same South Korean label that reissued the Erkin Koray album. I don't understand the lyrics so I just enjoy the emotion. I think she's a really popular singer in Korea but I've no idea if the lyrics are mediocre or profound! But anyway, I was playing some records in the market in Cardiff with DJ Esther and Don Leisure - whose album Shaboo came out in 2018 and is really great, instrumental sampled hip-hop - and they were both playing this Kim Jun Mi album! I was like 'I know this one' and we had a chat about the album. Later that week, I was having a cup of tea outside a café and a fellow musician, Carwyn from Colorama, stopped to tell me he was walking through the market the other day - he was probably buying veg or something - and heard this track and started describing it to me and it was clearly Kim Jung-Mi. I like the idea of four people in a loose musical community just turned on randomly through geographical reasons by a record that might influence them. It's a community generating a unique cultural identity through chance happenings."