"Flawless again. She's a poet! I knew who she was, she was in my peripheral, but I discovered her, god, maybe ten years ago. The beauty of being in your 30s is the beauty of being able to admit that you didn't hear The Wipers first. Or that you knew the Hole version of 'Credit In A Straight World' before you knew the Young Marble Giants version. When you're 20 you're a little more self-conscious about it. But yeah, and I'm glad that I had a relationship with her as an adult. I didn't grow up listening to her as a teenager at all. In Arkansas she wasn't on the radio. God, that's another record where every song is my favourite song. 'Kimberly'? My god. 'Free Money'? I don't even know where to start. It's poetry set to music and it's done so well. Other people have tried to do that and it doesn't really work and she just really pulled it off in a way that was beautiful and not trying too hard. She's effortlessly cool and she gets cooler."

"I first started listening to The Slits when I was about 8, with my friend Antonia, and we stole all her brother's Slits records and used to dance around the room pretending we were the Slits. I just picked this because I'm sure it was a huge part of my life. If I could have been any kind of singer, I would have been a punk - I thought I was a little punk growing up! I wanted to be in The Slits, I wanted to be that kind of a woman, but I grew up to be a folk singer, and that's alright too - I like that. It's just the attitude - I hear The Slits and I'm immediately back in that time. It was a one-off period, it was an exciting time and they kind of encapsulated a sense of anarchic joy. The songs are fucking fantastic as well. There's that ska element, punk, reggae and they're British and they're fantastic. I don't know if there's ever been anyone like them since."

"There's a song on our new record called 'Us' that is sort of free-flowing, a little ambient, more of a soundscape than a song. For the most part we haven't gone there a lot. The only thing I would say is that I have a tendency to try and write songs where you stay in one mood the whole time. I've broken out of that a few times but that's my general tendency, to not add a bridge that changes the mood of the song. I want to get into the feeling of a song and stay there, and find a way to keep that interesting. And I think that's what is happening on records like this. It's all about a mood. This record makes me feel like it's, you know, I got into it when I was a sophomore in high school and I was going through my first real relationship. I still feel it listening to this record. It sounds like cold Temple Texas and falling in love for the first time. "

"I was just being honest. The most listened-to records in my collection, I'm just astounded at the extraordinary thing that they did. I'm from a generation of people who listen to music, or who listened, past tense, to music. I really wanted to belong to it, you know, you'd paint an album sleeve on the back of your coat to say this is who I am and what I listen to. And I was very happy throughout my teen years to be defined by what I was listening to. And I wanted the world to know about that, claiming a band as my own. I was a total fan when they did what I still consider to be the bravest thing that any band in rock music has done, which was after creating this amazing, successful commercial record that nevertheless is so incredibly creative and artistic, to then go further into the arts and completely disregard the fiscal side of what they had done with the success of The Colour Of Spring."

"George Clinton is very important to us. In fact, George, Sly Stone, Miles Davis and Curtis Mayfield are all people we're inspired by and look up to. I'm lucky to have become friends with George. We played a show last year with his band in London and he's just an amazing guy. I remember getting this album, listening to it and thinking, "Free your mind and the rest will follow." It's free, psychedelic, sexualised funk. Also, there are incredible lyrics. George is a great lyricist, one of the best. On one track, George was told to play a guitar solo and imagine that he was just told that his mother had died. Funkadelic can go from real, emotional, plaintive with a song like 'Maggot Brain' to a big, acoustic funk track. The message from the band is that you can do anything. George had many great musicians in his band and he changed it around, you just never know who was going to play on the track. It always sounds like Funkadelic because of George's vision."

"It's a funny one, this record, because I think of it almost as an instrumental record. I don't listen to the lyrics, I don't know what they are. I listen to Mark Hollis's voice and it sounds like a trumpet. Words as sounds. I don't know what any of the songs are called. I listen to this almost like I listen to Music For Airports, it's a mood piece. It's interesting where it came in their career path: they started off as this pop band and then ended up as a very obscure avant-garde group with Laughing Stock. Spirit Of Eden was the interesting bridge between the two. Slow Attack, the album I did with lots of woodwind, was massively inspired by Spirit Of Eden and the sense of drama in it. It's very mellow in places but again never easy listening. It's pagan folk. Folk music isn't about men in silly jumpers with fingers in their ears and all that clichéd nonsense. There's something really earthy and pagan and Wicker Man-ish about it."

"I love that whole album, Coney Island Baby, I like the whole way that album was done. It’s got a cooler, very studio thing going on with all these ‘Oohs’ and ‘Ahh’s’ on the vocals all over the place. “With ‘Crazy Feeling’, I can’t be sure, but I think I heard it on the radio when it first came out. I think I was going to kindergarten somewhere; that was the ‘60s for me! I heard that ‘bum, bum, bum’, that sort of that chiming thing that goes on, and I really liked it and the sound of the guy’s voice singing. “At this point, it could’ve been a vivid dream that I’m remembering, but I think it actually was that song that I heard that on the radio and mixed in with everything else it caught my ear, at whatever age I was, whenever that song might’ve gotten a couple plays on a radio station. We would’ve been listening to a New York station at that time, living in Connecticut, or a Connecticut station"

"My late friend and mentor, a guy called Roger Eagle, who used to run Eric's [club] in Liverpool, he turned me on to Bobby Bland. And straight away I was just blown away by the voice. This incredible voice. What I like about Bobby Bland is he has tinges of jazz in the R&B, it's not just straight ahead R&B, the jazz comes through. I was very fortunate to spend time with Bobby, and B.B. King as well, they were very close friends [of one another]. B.B. contributes to the film we made when we went over to Memphis and I spent a little time with Bobby [this documentary features on the DVD edition of M.H.'s 2008 solo album, Tribute to Bobby]. He's a profound influence on me, he's a truly great singer. His music lives with me, and I just love him and it. I love the R&B of that period. A wonderful experience, just knowing these guys, and spending time with them and listening to their stories."

"This was what my sister was listening to in her room and when I heard it there was a defining moment. We all have these pivotal moments where there’s a sense of clarity where we can recall what we were seeing at the time, we can remember what things smelled like and their color and I remember walking through the hallway of our house and hearing ‘Heartbreaker’ coming out of her room and the world stopped. I was stunned because it struck such a nerve and had so much energy. Then when the solo came on I discovered another dimension of music. I was probably ten or eleven. I hadn’t picked up a guitar by this point but that’s when I knew I had to play. I had seen guitars since I was in kindergarten and was obsessed by finding photos of guitars but after hearing Led Zeppelin II I crossed the line between just liking guitars and wishing I could play one, to saying, ‘Ok, I’m going to play…’"