"Tonto's Expanding Head Band were very early synth adopters. Tonto was an acronym for The Original New Timbral Orchestra which was a reference to what they worked on: the biggest polyphonic analogue synth in the world. Tonto was almost like a cockpit of synths arranged in a horseshoe shape. When they played it, they were inside the machine. Zero Time was hugely influential, most notably on Stevie Wonder who heard it, freaked out and asked them to produce his records. They ended up doing Music Of My Mind, Talking Book, Innervisions and Fulfillingness' First Finale. They also did a load of Isley Brothers records, including 3 + 3. Zero Time borders on New Age in a way. I'd never really heard music like this before – totally instrumental, the whole record composed on synths. I saw them live when they played at the Big Chill festival in 2006. I hadn't known they were playing [a line-up consisting of the band's Malcolm Cecil and his son, DJ Moonpup, with a portable version of Tonto performed]. It was amazing, even if it was a bit odd because they interspersed songs with educational stuff, little bits of interviews with Stevie Wonder and other people they'd worked with. It worked though – what a show!"

"If you're thinking I don't seem like a big Van Halen guy, then you'd be right. I liked parts of what they did, but what this is really about is a moment in 2017. Whenever Spoon play, we'll go through the same process in the build-up to stage time. The clock is ticking, we're sipping tequila and we're blasting music, turning it up a little louder with each track. The tour manager comes in, tells us we've got five minutes, and then it's time to pick one last song before we go on. For a while, this was it. It got us going! It was Alex (Fischel) who picked it, I think. It's sort of a David Lee Roth mission statement; all those fucked up lyrics, ""my love is rotten to the core,"" and ""you're semi-good looking."" We've had other pump-up songs - it was 'I Wish' by Stevie Wonder for a while - but this is one of those ones that makes you appreciate the art of the riff. You have to write a lot of them before you land on one this good. It's pure '70S rock and roll. I feel like we need some more of that nowadays."

"This was also in the same house, and the second song that made me cry was on this album. I think it may have been 'Bedtime For Toys': it was a song about how some children didn't get any toys, and made me really sad that actually some children didn't get any toys at Christmas. It seems quite silly now, but it had that effect. Also, his version of 'Ave Maria'. It's an amazing album. It's not a particularly known album though. I had lunch years ago with Nona Hendryx and Vicki Wickham. They're very knowledgeable about Motown, as Vicki had produced Ready Steady Go! and was instrumental in bringing over the Motown sound - and even still calls him 'Little Stevie Wonder' - and they weren't even aware of the album. It just reminds me of a time when I was playing other people's records. My dad was a big country & western fan into Johnny Cash and Patsy Cline. There were also six or seven albums by Yma Sumac, which were very bizarre and had amazing covers, and I would think ""who is this?"". I think he may have got them through Reader's Digest or something. They were quite exotic things. And also there were singles like The Monkees' 'Daydream Believer' and 'Everlasting Love' by The Love Affair and '(Sittin' On) The Dock Of The Bay' by Otis Redding. These were already there in the house, and it wasn't until..."

"""If I want to pick my favourite records then I have to pick something from Motown. When you have that kind of catalogue it can be hard pinpoint one act. In my case, it would have to be the Four Tops and therefore I have to pick a greatest hits album. I never had a problem considering the Four Tops as a band. As a little kid they were omnipresent if you were glued to the radio as I was. They were a constant fixture year-in, year-out. They would release incredible songs like 'It's The Same Old Song' or 'Reach Out I'll Be There'. On this album you get to line up all of these songs back-to-back as a complete body of work, or even like a single live performance. You can hear a darkness and, dare I say it, a rocking spirit that you won't get from The Supremes or from Smokey Robinson or even Stevie Wonder, mostly due to the presence of Levi Stubbs' voice. In addition, the music had to match his voice and his range of emotion that you wouldn't even get on a Marvin Gaye record. Not only were the songs powerful, but the arrangements and instrumentation and the performances meant that, as far as I am concerned, Four Tops rock like Led Zeppelin. What more do you need? It is a collection of incredible tunes. I bought this record when it came out and all my mates thought I was either really, really old-fashioned or a freak. I knew I wasn't old-fashioned but what was the alternative? The Boomtown fucking Rats?"""

"The moment I got into Crowded House, I was on tour – actually I went to see a Stevie Wonder gig in Wembley and I was like 'the guy doing the sound is brilliant.' And I thought it would be incredible if I could get him to do sound for me [which he did]. Anyway, I was at his desk one afternoon and he was playing Crowded House. I think he bought the cd for me and I just played the album and thought 'oh my God.' It was very different but very odd, there are some odd songs on there, especially as they were coming out of Split Enz as well who I knew a little about. So, I just grew to love it. I met my now wife as she used to work for EMI and had been doing promo for Crowded House's gigs in Denmark and what have you and had also been at Montreux – she was a mad fan as well. And 'Don't Dream' Is Our song, [shows me his wedding ring] – we have some of the lyrics inscribed here. I've had the pleasure – or the embarrassment – to tell Neil Finn this once. I saw him in a café in LA. And I thought 'do not, under any circumstances, tell him about ring' and before I knew it, I was going over telling him about the ring. I couldn't stop myself! By this time, I had seen them twenty times. But I was just there, in front of him going 'ummm..ehhh…ah fuck it!' But he was really polite and gentle and spoke about our mutual friend who used to be my musical director but was also producing Neil's album. How did he even know who I was?! I've seen Crowded House in so many different style of venues. I drove to Bristol to see them at the Bierkellar and so there was only three of them - there was no sign of Tim Finn… have you seen them live? No? Ah, fucking hell! They're amazing. I saw them at Hammersmith Odeon at one point and their drummer needed a piss mid-gig. So Neil Finn just started noodling and they ran around and swapped instruments and just started playing this nonsense song they made up on the spot. I just thought 'what is going on'! Every time I've seen them, they just make shit up. And I love that about them. Because they can be also so sincere about a lyric or a song they're gonna play. But where was I? Oh yeah, Bristol. Tim and Neil had just had a big bust-up. Tim had had enough. So that was quite a weird night. One of my favourite bands in terms of the music they make but also, as a live band, they're hard to beat."