"This is such a glorious and beautiful album. There are not many albums that make me want to cry but I think this is stunningly beautiful and raw and emotive and it contains some of the best and favourite Neil Young lyrics. You know: 'I need a crowd of people/ But I can't face them day to day' - I feel that. I'm interpreting that in a certain way but I'm with him on that. There are so many times that you listen to stuff that you really feel. It feels so real; more than real even. It's a beautiful album. 'Revolution Blues' has got everything; it's got a great sounding band working really well and nailing it and it's got an energy. Nothing's too internal either. I was talking to someone earlier about the lyrics to Matador and I know that there are some really personal lyrics on there but they still have to have a hook; they can't be too internal. I can't internalise too much or else I close myself off to whoever is listening. I don't want to push anyone away by being so morose or depressing. But Neil Young does it so well. Lyrically he's a great inspiration to me. They sometimes feel like throwaway lyrics or he has quite simple couplets that feel very day-to-day, but then equally he can be a lot more abstract and using metaphors as well. I've looked at that quite a lot in terms of creating that balance of metaphors and real day-to-day life. But why not have some anger in there? I hear that a lot in 'Revolution Blues' where he talks about 'killing stars in their cars' and that's great. It's angry; it's like the first line of 'To The Wire'. The first line of the song is, 'I want to cut myself' but the second line is: 'I want to cut myself down.' You know, it's where I want to cut myself free of all the pressures. I remember when I played it to people and they were like, 'Gaz! What was that?' and I was like, 'No, no, no, it's part of a couplet. The pay-off is line two.' You know, I'm not into self-harm or anything but I like the fact that some days I might feel like I'm really completely fucked and that I might hate myself and do some damage but I won't. I question it. And like I say, Neil Young does that really well."

"He's also an anti folk artist and a friend. He's super underrated. For me there could be an alternative universe where Turner Cody is considered to be like Neil Young or Townes Van Zandt. He totally deserves that. His catalogue is as good as theirs, people need to wake up and hear it. This album is a good starting point to explore Turner's work. It's from the period of his life where he almost began to become the young Arthur Rimbaud. It's a very literary folk record, and he's also the most romantic anti folk songwriter. A lot of anti folk uses humour and satire, but Turner's stuff has always been deeply romantic without being particularly funny which sent him apart from the more punky stuff that went straight for your throat. He's a romantic, mystic poet who makes music. The title track actually paints New York City as an anthropological creature that's going through the processes of change. He really taps into corruption and decline and the surrounding elements that led into the financial crash, Occupy Wall Street, Brexit and Donald Trump. I feel like Turner understood these things were going to happen. If you listen to this record and his next one, Who Went West, it's all about what's happening now, yet he was just a 19-year-old who felt what would come. The lyrics are all prophetic in n that way, he understood what would happen in the world."

"The Future came out at around the same moment I discovered Maria Callas, and I got into it somewhat, but it was really Martha who was affected most by that record when it was released, along with a few of my friends. I could see it having its effect on the world around me. But I didn't really understand it for a long time, and then years later when we did the Leonard Cohen tribute shows in Australia, which were filmed for the I'm Your Man film, I really started looking at his material, and I realised that record was so seminal in his career. It was really when he became Leonard Cohen, in a lot of ways, in terms of how he ended up. I can pinpoint that transition as a useful guide in terms of my own career, where you hit a certain age and you have to kind of reinvent yourself – not totally, but you have to settle into a theme, and Leonard really did that with The Future so successfully. I think there's other albums that do that: Paul Simon with Graceland, Neil Young with Harvest Moon, so that's what I admire the most about that record."