"It's an unstoppable record. I nicked my copy so I never had a sleeve for it, so I never got any of the song titles or anything like that. But again it's a very complete record. It's one of the few albums that I can just leave on and it can play all the way through and you don't go oh, not this track again, I hate this song. Everything on it sounds like it was recorded in somebody's bedroom. I've never even looked up how they actually did do it, but I just love that the machines and the loops they used were pretty much standard for the dance crowd, and things like where I would have said oh, not that beat again, everybody's heard that loop, you know, actually they turned round and said ah, but if we do it like this it sounds really good. And the production on it is amazing. Some of the things that are going on with the timings on the compressors and the noise gates, on that level there's plenty to listen to, as well as the songs being great. The dynamics and the editing in and out and the mixes are really quite something else. I wonder sometimes if it's only because I've made records myself that I get how much work must've gone into that to make it happen. But at the same time it still sounds like it was done in a bedroom. But again, they're very minimalist in what they use. They pick their shots. When they do something they make sure it's in the right way and in the right place. There's nothing in there that clouds the water or gets in the way of the vocals or loses the bass. It's always relevant."

"""It was a more intense injection of it. That was the second solo album, before the second Wu Tang album, and you can still hear that hunger in RZA's production. It's even more intense and claustrophobic. I didn't buy this album until six years after I discovered the Wu Tang, and it threw me again, I was obsessed with it. I used to have it on in the car all the time and I would stop it and go back to a little bit, then stop it and go back to another little bit, thinking about how I could replicate that, because it was so good. This was well after I came up with Sleaford Mods, just before I met Andrew. It was still so mind blowing. There was a theme to it, they always used to bang on about how it was a concept but I never got that. 'Guillotine' was my favourite one off it, and also 'Incarcerated Scarfaces'. The first one has this Keystone Cop kind of beat. It's bizarre, there's almost an Irish thing to that. It was east coast, you've got a lot of Irish immigrants there, so it must have spread through the culture. I used samples for the first four albums, or tried to, but I don't do it any more. It was just so tired to me, I'd rather leave sampling to those classic albums than flog a dead horse, you know. I was aware of the fact that it was an uphill battle trying to get clearance for stuff, but after three or four albums I was also getting bored of it, trying to find a loop off a great track. It didn't matter how obscure it was or how obscure the approach was, it just bored me and I needed something more home grown."""