"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'."

"I grew up in a house with two older brothers, and my parents played music a lot. I remember that Prince just used to be on in the car. Parade is one that I remember from a young age more than the others. I remember bringing a tape of Purple Rain into school and playing 'When Doves Cry' and people dancing to that. I remember all of those records in a bit of a blur. I remember being in the playground at school, and singing to myself the song 'Under The Cherry Moon' from that album, and also 'New Position'. Lyrics would just come into my head because I heard them so much at home. Parade is just the one of all of them that I believe is the least dated to the time that it was made. It feels quite adventurous musically. I always thought it was Prince and the band, but actually, the first four songs he just sat down and made in one continuous go. He played the drum parts for the first four tracks in sequence, and then overdubbed the rest of the instruments. It's a really amazing sequence. The rhythms are changing and the tracks speed up and slow down, but it has this great live feel to it. It's really unusual instrumentation for what is essentially a funk record - it's got double bass, it's got strings and orchestrations There are some very short, odd songs, but they're these real bursts of energy. His lyrics are really playful on 'New Position', but then it goes to something more melodramatic on 'Under The Cherry Moon', then there's 'Girls & Boys' which is one of the biggest tunes on the record outside of 'Kiss'. It doesn't feel like a very mainstream or chart-orientated record. It feels like a very eccentric record that only Prince could have made."

"It's the first record produced by Stevie Wonder, and one where he plays everything himself. The contract he signed with Motown meant that he would be in complete control. There may be other albums by him where he's more consistent. Or maybe they're more classic. But it's the approach to that record, and the sound that I love. 'Love Having You Around' is one of my favourite Stevie Wonder songs. The whole record has this funkiness to it, and his drumming is unlike any other drummer I've heard. He speeds up and slows down on the track. On 'Love Having You… he's just really grooving, because he's playing music with himself. It's not done to a click track. That kind of movement and the grooves are the things I like most in the music - that's something I think about a lot when making music as well, I'm always trying to get away from using a click track. It can be much more exciting to have things constantly speeding up and slowing down. There's just something about people doing records on their own that I really like. I remember when I heard this for the first time, and it was so distorted, and maybe there was a vocoder being used. The first time I put it in, I was thinking that maybe they'd put the wrong CD in the box - maybe a Jeff Beck one, something more bluesy! I really liked that in itself. Stevie's experimenting! There's a real playfulness about this, that I try to have in the music-making that I do! It's having the confidence to play around and being aware that you might stumble on to something."

"I grew up with a lot of my dad's reggae records. I used to always buy the compilations, the Reggae Hits volumes, Ragga Ragga Ragga! We always listened to music in the car and “Murder She Wrote” really captured everything that was great about ‘90s dancehall music. The melodies were right, the emceeing was just the right tone, and the beat itself was of an era of dancehall that I loved so much, from listening to sound systems like Kilimanjaro and Addis. “What I've really enjoyed, having been in this for a minute now, is to see how styles and trends and music are cyclical. I used to think all that was BS; “Oh yeah, don't worry, this is gonna come back round”, but when I start to think, I guess it was around 2015 that there was this new sound everyone was talking about called 'Afrobeats'. I was like “Let's check this out” and to me it's ‘90s dancehall with a twist. You know what I mean? And now we've got Diadora, Kappa, Fila, all these brands that kind of had a moment, and all of a sudden it's retro, it's vintage. It's like “Wow, this is happening in front of my face.” “So to have that wisdom of what those songs were about is exciting for me. I can go in the studio and I can draw samples from a ‘90s dancehall tune, that, if you didn't grow up during that time might be lost in the vaults, because you wouldn't even know about Jigsy King, Sanchez, Beres Hammond and old school dub reggae. “Now I can pull out my tracksuit and people are like 'Mate, where'd you get that?' and I'm like '1990', this is real vintage coming out my mum's cupboard."

"Say what you will, nobody is trying to show off here, it's just solid songwriting. The great thing about almost every song on that record is that you can pick up an acoustic guitar and just play it and sing along. Joe [Elliott] singing the melody, he doesn't sing the highest and his voice doesn't rip up the most, it just sticks to the melody. It's great rock sensibility. The melodies aren't too bluesy, it's just a really solid record, and ten million other people must have thought so too because they bought it. But the interesting thing for me about that record is how honest it sounds, yet how unlike rock bands it was recorded. We took Def Leppard out with us and they told us the story of how their producer Mutt Lange would get them in the studio and the record was totally fabrication, by that I mean they would put down the drum track, then the computers would move the drum track so it really felt in time. Then he would ask Phil or someone to play one note - so instead of chords they'd be doing one note at a time. Then the chords would come from different tracks so you could control it, one note at a time. That record took two years. I've never heard of anybody doing that before or since. You can argue that it makes it sound different or better, but then there are great punk bands that go and bang things out in a day. There are no rules! Led Zeppelin I was recorded in 18 hours. The Beatles' first two records were done in 24 hours. But you can't argue with Mutt Lange's success."