"This is the most contemporary record of the lot. They're a West Coast band. There's one track on there called 'Valiant Brave', which is one the most extraordinary songs I've heard in many years. It sounds like an Apache war cry recorded on the backside of a mountain somewhere. It's the most indescribable record. I'd love to have written it. There's just two chords and the arrangement is quite unusual. It hit me first time round and I was listening to it over and over. Then I bought the album. The rest of the album is very tight harmony work. They sound like sons of the Beach Boys. It's encouraging to hear a young band sound that good. It's purist. It's where the Fleet Foxes are going. It's a lovely record. Primarily I find new music by people telling me about bands, but I like the Uncut and Mojo magazine sampler CDs – they've got a wealth of tracks by new bands, underground bands. That's where I heard 'Valient Brave'. When you're making a living out of music and writing, there's such a lot to learn from what's already been recorded. It'd take you a lifetime to appreciate what's been done. But it's great when something is out on its own and you hit on something new; when someone's hit on a pulse and it's not derivative. Very early Blur were really good and the first Supergrass EP was fabulous. That was the last time it got exciting for me. Damon [Albarn] gave me a cuddle at the Hootenanny recently and told me he loved me."

"I heard this record in Minus Zero record shop in Portobello Road - it was an old shop that had been there since the early 70s or early 80s, and it stocked a lot of Bob Dylan, Beatles and The Beach Boys. Kind of power-pop albums. I used to go in there to buy Big Star and Big Star-related records, and it was the best place in the UK where I could do that. I'd gotten all the Big Star that I really needed in my life, but I wanted more Alex Chilton records. I asked the store to play me Like Flies On Sherbert. They put it on after saying it was rubbish, and the first thing I heard was the sound of tape stopping and re-starting; the record is full of lots of those sounds. It's a pretty lo-fi, raggedy-sounding record in terms of the production and the performances. It just sounded really unlike anything else I've ever heard before. Really loose and groovy. It's full of life - like a punk record with soul. You can tell that they were probably very high and drunk while they were making it - mistakes and everything are included in it. That's why I made a second About Group record called Start And Complete with Charles Hayward, Pat Thomas and John Coxon, in one day without anyone knowing the songs before we played them. I wanted to capture spontaneity. The record I made with About Group is much softer than this, as my style is very different, but this album is definitely an inspiration on me."

"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."

"I always wanted to be a songwriter and not a producer. Even though I ended up producing a fair few bands over the years, it wasn’t something I ever particularly wanted to do. With Echo & The Bunnymen, they were such a special band because of the chemistry and I always wanted to be in a band like that. The Beatles were like that, as were The Beach Boys and The Kinks. I felt like that was never going to happen for me, I never thought I’d meet someone who would be a singer, and I never wanted to be a singer. When Ian Curtis sadly died and New Order were going to carry on, I remember hearing “Temptation” for the first time and thinking ‘Bernard can’t sing at all but it’s great, it doesn’t matter that he can’t sing’. I’d have these ideas in my head and I’ve always felt with music that if you’ve got a good idea but you don’t do it very well, then it’s still a good idea. If you don’t have a good idea, no matter how well you do it, it will never be a good idea. That sounds obvious, but it’s always been my mantra for everything I’ve done. I loved everything about that track, the backing vocals, the singing and it made me feel like I could maybe do that, that I could be not very good at singing as well. I was already doing music at the time, but it gave me the confidence to sing on my tunes and give up on finding a singer. “Temptation” inspired me to get behind the mic myself, and if you have a good idea, then something will come of it."