"Nineties hip-hop has never been bettered for me. I kind of lost interest in the eighties when electro started morphing into hip-hop. It got a bit clunky for me as it tried to sound more real, it sounded clumsier. By the time you get to the nineties, you had a mutation of what's real. The production on The Infamous – sonically it's just genius. It's a shame some of the lyrics are so offensive as it detracts from how good the music is. It's brilliant soundtrack music – it carries on the thread for me of the stomach knot for me, from John Carpenter. I don't know why they were so quick to move on from the sound of The Infamous. I suppose the royalties thing is huge in hip-hop, now everybody buys an off-the-shelf keyboard and has a stab at it to avoid having to clear samples. But it doesn't sound the same. It was hard to pick one. When I got ousted from The Verve in 1995, I stumbled on Tical by Method Man. That's definitely my favourite Wu-Tang record, probably because it was my first. The production doesn't bear any relation to anything I'd heard before. You could draw a parallel with Tom Waits – it's from another world really. That one needed perseverance as well. It sounds shit at first, but then it reveals itself."

"This was a life changing experience for me. I went to one year of college at a small college in Minnesota, and during that year I befriended an older student named Tim Streeter who I hung out with a lot. He played Tom Waits for me and handed me On The Road by Jack Kerouac. Since I’m from this small farming community, I wasn’t exposed to a lot of unusual art. I had seen The Seventh Seal when I was a kid on PBS. One night [Tim Streeter] said “There’s a movie playing at the student union and you should go.” It was Harold and Maude, and I was amazed by it. There’s no dialogue for the beginning of the film, and it begins with Harold killing himself. His mother berates him for it. Bud Cort’s performance is so great, that this is when I began to become a Hal Ashby fan. I could name his films as all of my Five Favorites if I wanted. Being There is certainly near the top. I chose this one because it was so formative for me. Ruth Gordon, when she tells Harold to go out and love and have experience and give him something to talk about in the locker room, it’s such a great thing, such a beautiful moment. When Ruth Gordon throws the ring or piece of jewelry that Harold’s given to her, and she said, “Now I’ll always know where it is,” I think it’s in that scene where the camera catches a concentration camp number on her wrist that’s never mentioned or talked about. It gives me chills because it’s so affecting and subtle."