"It's one of my favourite concept albums, one of my favourite psychedelic albums, one of my favourite albums from that period full stop. I don't really know what the story to it is, I've never really bothered to figure it out, I just think The Pretty Things are one of the coolest bands of all time. There's something so edgy about their take on British Brian Wilson-influenced music. I love Odessey and Oracle, and I love all the more famous concept albums, but there's something about S.F. Sorrow that feels so much more rock 'n' roll, there's something about the way that they play that feels like punk rock for its time. They just have a real cool edgy energy, but at the same time it's sophisticated and lush. Obviously there were a lot of different bands experimenting in England at that time, but this is special to me because it feels more glib and more flippant, and less precious. It's well thought through but it has a useful punk edge that puts them in another class. I think one of the first times I really got into this album and realised what a masterpiece it is was ten or eleven years ago when I first met my girlfriend Charlotte. We went up with a few friends to a farm in Pennsylvania. It was the first time Charlotte and I kissed, it was a very magical lost country weekend. I remember hearing this record a lot that weekend. I already knew about The Zombies' Odessey and Oracle and I was a huge Beach Boys fan, but I didn't realise that the Pretty Things had done something so complete. They were leading the way, they were ahead of their time and not just copying the others, they were setting the bar."

"In the past year or two I’ve really been getting into more electronic music, and finding there’s so many subgenres! I’ve found this niche of really melodic electronic music, like Jamie xx and Jon Hopkins, and I just found it so soulful – it gives you this energy at the same time. That’s really opened a world up for me, ‘cause I always assumed electronic music couldn’t be as musical! Hearing this new sound, and these new methods of being musical through newer instruments, I was like, ‘wow!’ You can really reach that point of emotion in such a different, more energetic way. ""I just love this song. It’s a masterpiece, and I love the video as well. Learning about production a lot on this last album, it’s such a skill to let each element shine through and complement one another. The main thing for me is that simple line that comes in – a synth or something – halfway through, and the way everything builds. It’s like a symphony, really. Ever piece has been so considering in the song, and has such an emotional impact. It changes one note, and you’re sucked into a deeper level of emotion of the song. It’s effortlessly epic! ""I’ve used 'Gosh' so many times to warm up before a show, to get in a very focussed sense before a performance or doing anything high-pressure. It’s definitely our tour song. It has so many emotional memories for everyone that was on tour – our cameraman had to go ‘cause his first son was about to be born, so we played that song for him when he left. It’s never got boring to me, and I think I’ve rinsed it for about two years now! It’s never lost its magic. It just gives me life every time I hear it."

"Field Music are the kind of band that don't inspire me, in as much as they don't inspire me to pick up a guitar again - they make me realise there's no point. No matter how much time I put in, I'll never be able to get anywhere near their inventiveness and dexterity. David and Peter Brewis are not only two of the best guitarists in Britain - they're also two of the best drummers, songwriters and producers as well. I got into them around their Tones Of Town album which is like their Beatles album, with perhaps a bit of Genesis thrown in for good measure. 'She Can Do What She Wants' is perfect pop music and 'A Gap Has Appeared' is two minutes of unbridled prog-pop genius. After this, they weren't even sure if there would be another album, but thankfully there was Measure, their most accomplished work to date. It's a masterpiece. It sounds like it was recorded on a huge budget with Todd Rundgren producing. It wasn't, however - it was just Pete and David in their own studio in Sunderland. From start to finish, this is a flawless modern band showing their talents and influences. They're on hiatus now, and I don't know exactly what that means. I know Peter and his missus Jen are expecting a baby in March, and when I teamed Matt Friedberger and David up for a recent session for my programme there was talk of them forming a band together. That'll be mind-blowing. I told David I'd want to be their roadie if they get the band together and tour. He said, 'Well, we will be needing a bass player…' Ha… No chance. Not in a million years will I put myself between two musicians I reckon are absolutely worthy of the title genius. I'll be happy carrying their amps."