"The Kinks were one of my favourite bands while I was growing up. I was introduced to them by MTV and the video for 'Come Dancing', which they'd play all the time. I really liked the video and the boy in that video really reminded me of one of my brothers. So I got into them through that and I also had a 'Best Of The Kinks' which I wore out because I listened to it so much. But Kinda Kinks, I didn't really listen to that record until much later. I think I was maybe in college, or after college, but it became one of those records that I would listen to all the time with James [Murphy]. We'd be at the DFA studio which, before it officially became a record label, always had the studio there, and it was a gathering place where something was about to happen. It was right around the time that James and Tim [Goldsworthy] were producing the Rapture record, I was hanging around there a lot and James was actually living in the office for a period of time too. And on Sunday mornings we'd sit around and listen to music. Kinda Kinks was one of those records. I love every song on that album but it does contain my least favourite song in the world: 'Dancing In The Street'. It's so bad that it's seeped into every other version that's ever been made, including the original version. So now all of them are ruined for me. It is the worst song. There was a brief period when MiniDisc players were kind of popular, and I loved MiniDiscs. I really wish they'd taken off because it's such a great format; it's this compact, digital format that can be edited very easily. You can make a mixtape, it was super easy to record onto, super easy to rearrange and me and James would make a lot of MiniDisc mix tapes for each other. One of the greatest things though was that I was able to make a version of Kinda Kinks without 'Dancing In The Street'."

"He used to be with a band called The Zincs and that was interesting in terms of being clever and beautiful and having all the right elements, but this album is beyond interesting and beyond clever and beyond beautiful. There is something that is clicking and being aligned, and all the years of work are finally getting you to this plateau that you've been looking for. I feel that he's got there. Sometimes there's nothing you can do but work hard at something for a long time before you get to where you want it to be, and I have that sense that there he is. This is an album that really talks to the listener in a very direct, open way. And it has all the elements. It is interesting; it is surprising; it is beautiful. It's very well-played, of course it is: James is a terrific guitar player. He introduced me some years ago to Davy Graham, and that was my introduction to folk music. That was where folk music started for me. Tim [Gane] hated folk music, or he always claimed he hated folk music, so there was no folk music at home. But James introduced me to Davy Graham and Shirley Collins, and you can't argue with music like that. It's pure; it's direct; it's transcendental. There are no curves or bends; it's just something that's received in its purest form. At least, that's how I feel it. And the songs are incredibly beautiful. I don't know how to explain what makes a good interesting song for me. It also has to do with the fact that it's not a cliché; it's forever whole, it has its own integrity, its own singularity. I feel like James might say he has nothing to do with this folk music stuff, but of course he does, you know, and certainly Davy Graham is in there. But he's lived in Chicago for many years now and he's worked with other people, including myself, who don't particularly come from a folk background, and it's true that, to honour this record, there are other interjections from other influences. It has to be seen as a whole thing that can't be reduced to just folk music. It is a strong root, but there are also some amazing string arrangements and a lot of surprises. There are connections to the past, but coming out of a spaceship, you know? It's really earthy, but connected to the universe."