"I love the orchestration, I love the sentiment, [Thom Yorke] is going through a peaceful patch on that record. He sounds like for the first time he is crooning to you a little bit, like he is a little more comfortable. He is still dealing with huge social issues in his lyrics and very deeply personal experiences as well. On 'Morning Bell' he sings: ""Where'd you park the car?"" That's the conversation your parents have when they are newly split up. They still have to share a vehicle, that is a conversation that they have to have. If you're a child of the '80s, nowadays everybody's got their own car, but that was the only communication my parents had after about six months. And when I heard it singing out in the middle of his lyrics, I just knew for sure that's what he was talking about. So, beautiful, overarching. Sometimes Thom's lyrics are like being berated. It's like being shouted at, and then at other times, he seems to pull a rainbow out of the sludge out of nowhere. That record, it could have been any of them, but that's the one I consider mine, in the same way I feel a sense of ownership of those Talk Talk records. That's the Radiohead album that's given me the most joy. It can take you back to a sad time in your life, and I think that's what good music does as well. You know it brings you forward to the present, but also reminds you of your emotional connection to something in the past. And I think if an album can do that, it's worked, basically."

"You have to remember that this came out when I was 10 years old, and my brothers started smoking pot and listening to that all the time. So we lived a lot of our young intense lives with all that cool Led Zeppelin shit playing. But when I hear Led Zeppelin IV, I guess that's where I discovered that idea of a rock group. So for me, Led Zeppelin never really evokes anything other than these dudes playing this bad ass music. Of course, it's impossible to really play like Led Zeppelin. I mean, they're a total fabrication of sounds and moods and little arranging techniques, little quirks. Jimmy Page is a master of that. It's a magical combination of, what, eight songs? When you listen to them altogether, which we do quite often, I don't see how anyone who loves music could listen to that and not think, 'Fuck, that's cool'. Such cool drumming, such cool effects on the guitars. Robert Plant... it's a weird way he sings. People have accepted it now, but it's a weird screech. So high, with so much velocity, he's really singing at the peak of his energy. That is driving the music. You can't take Robert Plant's screeching out of that and get the same effect. It's just what the song is. That song 'Rock N Roll' [sings] "been a long time since I rock 'n rolled"... if you don't sing it like that, it doesn't have the same effect. He screams that shit with that freaky echo on his voice, it's like some truth from beyond. It's fucking amazing. It's still amazing."

"I'm so excited about being on the same bill as Patti Smith at Field Day! I think it's going to be fucking brilliant as well. I think she's going to be amazing. You can sometimes be disappointed because of all the baggage and preconceptions that an artist can bring from back in the day but I think she'll be a killer. She's going to be all over it and I'm really excited. But yeah, this album was a massive mainstay in our tour bus and throughout our working life and it still is now. I always wanted our band to sound like Patti Smith Group - they've got the piano, they've got the hard and fast edgy guitar, the bass… that's how I wanted Supergrass to sound like. How close did we come to achieving that? Well, there were the odd songs where we had that energy where Danny [Goffey] was on drums and keeping quite simple 4/4 beats and punky beats but without having screaming and distorted guitars all over the place. We had those moments of guitar, bass, piano and drums and we had that energy. I mean, can you imagine Sex Pistols with a piano? And that's what Patti Smith Group did so brilliantly - they had that raw energy. They had that piano but it wasn't used in that flowery way. It's a bit like how Bowie used piano in that rhythmic way. This record is an utter classic. That moment in 'Horses' where it all kicks off, I think we've searched to write our own version of that over the years. It's like, 'Woah! Take me away!'"