"What don't I say about Aja? We all have our different experiences with Walter Becker and Donald Fagen, but everything that they've created throughout the years is really awesome. I have a few albums of theirs I love; Can't Buy A Thrill, Katy Lied, Pretzel Logic, but there's a number of reasons why I am totally in love with Aja. It stems from the personnel, the feel, and how much it was a stab in another direction of pop culture. It was anti-pop, it was a bit on the outskirts of everything, I think. It's always funny listening to Donald Fagen singing about stuff because it's like, 'what's the guy rambling on about?' sometimes. A couple of my favourite musicians are on it; like Steve Gadd and, again, Michael McDonald. When I realised this was Michael McDonald singing background I lost my fucking mind, like, straight up. I always loved the Doobie Brothers and I knew his hits because of hip hop and stuff, but I remember being like 'Who's this magical person singing these dissonant chords behind the changes with ease with this weird timbre of voice?' – and you look at the credits and of course it's Michael McDonald. Aja, if I can't listen to it in its entirety then I get mad; I get pissed because I want to go through the whole album every time. One of my favourite moments on the album is Steve Gadd playing out on actual song 'Aja'; the way that just like the drum feels and everything – I don't know how to play drums but I love to try to act like I play drums to that one moment when he takes a slight solo at the end. Steve Gadd was always one of my favourite drummers ever because of the choices of records and stuff that he would do. Aja is he was he was one of those moments that it spanned out to everybody at that point. It was like at the height of their popularity. That was what happened and it was perfect."

"Let me say Crazy Heart, because it’s in my head. It’s prompted where my life is going now, because with Crazy Heart, it really fired up all my music. I’ve been doing music since I was a teenager; I put out an album a few years ago and built a label with Michael McDonald and Chris Pelonis. With Crazy Heart, I got to play with my two dear friends, Stephen Bruden and T-Bone Burnett, who I met on Heaven’s Gate, thirty years ago or something like that. With this music that was stirred up with Crazy Heart, now I want to continue doing that. So I’m going to take the rest of the year and get into my music; I’ve formed a little band up in Santa Barbara, where we’ve been playing some local gigs and we’re going to go out and play some more. That’s going to be fun."

"Gino Vannelli's albums were what made me feel it was possible to be a songwriter. When I was younger I used to do a lot of production work with my cousin Brian Warfield, we had our own studio. He went on later on to produce artists like Jhené Aiko and Miguel, but before that I feel like I was very much his very first hep artist, his homeboy at least, just making music together. We'd go buy records to sample and then we would work on music and go eat Yoshinoya. I remember my older brother came over, and he picked up Gino Vannelli's album on a fluke. I'd never seen it, I'd never paid attention to it, it was just sitting in the pile of records. My older brother put the first song on to find the sample and the way the record starts out grabbed my attention because of the style progressions that are happening immediately. When he left I put the record on and it washed over me and transformed me. There's songs that when you actually put them on you lose control of yourself almost, and you go into this thing where you start to sing, and all of a sudden you are a singer because this is something that you love so much. And when I would hear Gino Vannelli, I would pay attention to the lyrics, I'd pay attention to what he was singing about; some love loss or some mythology or something weird that a woman that has done to him. This is one of my favourite albums, Gist of the Gemini. Along with Kenny Loggins and Michael McDonald, he kind of shaped my songwriting and kind of let me know what it was to write songs. I was always told that you have to be honest in the music, but I was like 'well how do you do that?', and the people that taught me how to do that were Gino Vannelli, Michael McDonald and Kenny Loggins, with a couple of other people too."