"Sister Lovers is one of the most beautiful records. It's probably the record I've listened to more than any other. It's just a damaged and fractured, beautiful, plaintive, poetic record. And it still retains its sense of mystery. When we first went to Memphis we met Jim Dickinson [producer] and I asked him loads of questions on how he recorded Sister Lovers. We actually went to the studios where they recorded the album twice. We were absolutely obsessed by that record. Dickinson told stories about the recording process and allowing Alex Chilton to be himself. There's no one like them in the rock canon. There's a lot of pain in the record, a howl, anguish and pain. It's the sound of defeat. But there's also a duality of victory and defeat too, which is really rare in music but it makes it so appealing and attractive. Alex Chilton could go from The Box Tops to Big Star – the first two albums were pop rock, Byrds-y commercial songs. Then, he made Sister Lovers, which was like an art record. Pure art. There's nothing commercial about it. No one would release it. It was recorded in '74 to '75 and was released in 1978, after punk. This was because he was ahead of his time. It's only in the last 15 to 20 years that people have picked up on Sister Lovers. A record like no other."

"Well, obviously, I would have to say my dad’s movie, Sweet Sweetback’s Baadasssss Song is one of them, for sure. You know, I was lucky in that case not only to see the film and see the first movie where an overtly empowered black power character goes up against the system and survives. That was the first of its kind. But also to see my father insist on working with a multiracial crew. He had women on it, he had hippies on it, Hispanics, Asians, you know, and really bring all these folks together. That was super inspiring, to see that you could take sort of a multiracial, sometimes ragtag crew and make the first overtly revolutionary film in America and win and change the game. Because after that, Shaft came. Shaft was written for a white detective by a guy named Ernest Tidyman, and when my dad’s film Sweetback made money, they rewrote it with a black guy, and they got a young guy to do the music from Stax Records named Isaac Hayes. My dad, when he did Sweetback, had used Earth, Wind & Fire. So that was a super influential movie on me.Easy Rider was one I remember that just seemed to be the Peace and Freedom Party movement, in a way, reflected on screen. [Editor’s note: the Peace and Freedom Party was an organization founded in California in 1967 with the goal of ending the Vietnam War.]"

"Burning Airlines Give You So Much More’ is from Eno’s solo album Taking Tiger Mountain (By Strategy). I love the sound of his early solo records, Here Come the Warm Jets was a massive album for Supergrass, I remember the tour manager, the crew and all of us listening to it and loving it, it was quite a defining record for us on those early tours. “There’s something about that early solo Eno sound that I really love, he was such a sponge in terms of how he picked up on things around him and a lot of the stuff happening in Germany around that time. It was the way he could put things together and the way that he would double-track his vocal, the dirt and the raggedness of the way it was performed. There’s so much about it that I really love and then there’s the odd, skewed, surreal lyrics, it’s a good recipe. He was a big inspiration for me definitely, another one that can do that throwawayness, which is really cool. “There’s some tracks on Here Come The Warm Jets that do a similar thing, where he could be quite tidy at times in the song structure and do something that’s almost quite friendly to listen to. It wasn’t always angular and weird and I think ‘Burning Airlines Give You So Much More’ could have sat on the Here Come The Warm Jets album really well, it’s Eno at his best."

"Even though this album is instrumental it kind of feels like there are lyrics telling a story. But I couldn't really tell you what the story was. It isn't the same as certain atmospheric music. I can kind of understand their telepathic instinct with playing with Bill - there's a certain communication there. With Gunn-Truscinski Duo, their songs are worked out but then they do improv within that, I guess. - Kim Gordon I've known those guys for so long that I've gotten to see them grow and change as a duo. I think I set up one of their earliest shows. I've known John (Truscinski) since we were 18-years-old, so we've been playing music together since we were kids. So I've got to see the band develop like that and on this new one, I just feel like they're really stretching out in these really interesting ways and approaching the compositions differently than the first two records do. It's just exciting to hear them keep working. I don't want to speak for them but I'm pretty sure it's all written in advance, but with little moments, especially live, that they can stretch out and play with. They have really good chemistry. As usual with music like this, the record is partial ideas of what they can do live. Seeing them live, they've been playing together for a really long time and they can push at different points and it's really cool to see."

"Really Red are from Texas and they released Teaching You The Fear in 1981. My friend Smithy and I had a fanzine called Attack and that was one of the records that came through. Our first band Mr. Epp eventually played with them. There's a lot going on in that band for a so-called hardcore punk band. There was a lot of cool stuff coming out of Texas in the early 80s like Big Boys and The Dicks, a little later the Butthole Surfers. Really Red was quite a political band. So many political punk bands were really strident like Crass but in the wake of Maximumrocknroll fanzine many of them were 16-year-old kids spouting shit about stuff they didn't really understand. And who wants to take advice from someone with a very small worldview? Really Red were a little older, maybe five to eight years older than me, and I know this because Ronnie Bond eventually moved up to Seattle and I got to know him a little. Those guys were old enough that when The MC5 came through Houston in the early 70s they hung out with them. Really thoughtful guys but most importantly kick-ass songs. Kelly Younger was a really unique guitar player. They also referenced Nico and The Velvet Underground as well as political punk stuff. They just seemed a little broader than a lot of things that were happening at the time in the hardcore scene in particular."