"The reason I chose “Temptation” was because it gave me the confidence to write a song called “Pure”. I’d made my first album and it was quite difficult, because I didn’t have a band and I’d recorded it all at home. I was lucky in that it had done quite well and “Pure” had been in the charts in America and stuff like that, but I felt like I didn’t quite know what to do. It didn’t feel right to just hire a load of musicians and have a band that wasn’t really a band. Then I heard “Eye Know” by De La Soul and it was the first time that I’d heard people sampling records and using beats, I loved it and listened to it a lot. I’d been producing The Fall at the time and I was very friendly with a guy called Simon Rogers, who was a really good musician and he had a sampler. With hip-hop, they tended to have the samples and sing over the samples to come up with something, but I wondered if you could use the samples in your songs, and if it would be possible to craft a song while using samples. I don’t know if anyone had actually done that yet - it was mainly people singing over samples, but not making the samples fit in their tunes - so on the next album Sense that’s what I tried to do. It worked out quite well on the tracks like “Sense” and “The Life of Riley” but it was quite hard on the others. Then I honed it down and got better at it and I did Jollification, which is pretty much all recorded like that, with bits of samples. Jollification isn’t really a band, but a record constructed in a similar way to how De La Soul might have constructed 3 Feet High and Rising but using songs and not singing along over the record. That album really shone a light on how to make a more vibey and serendipitous record than if I just sat there with a computer."

"There was a record store in the Times Square subway station, and another one on 42nd Street, both of which had big “international sections,” as they called it. It included everything from the rest of the world, all on vinyl, but with no information. You’d look at the cover and go, What’s this like? It was a total crapshoot. But occasionally, I’d hear something that would blow my mind, like a Fela Kuti record; the first one I picked up was called Expensive Shit, and obviously I picked that up because of the title. The covers were the best—like Cambodian pop records with a bunch of people in traditional garb, all holding electric guitars—and you’d look at them for clues. You’d think, What in the world could that be? You’d buy it, and it would be pretty cool. In 1986, I did a fiction film called True Stories. I guess you would call it a musical comedy. We were doing the mixing in San Francisco, so I’d go down to the big Tower Records on North Beach and go to the international section. One day, I came back with a whole bunch of Brazilian records, because I had maybe heard of a couple of the artists, but didn’t really know what their records were like. One was a Caetano Veloso record called Muito, and then there was a Milton Nascimento record, and probably a Gilberto Gil record, and those blew my mind. They had elements that were psychedelic and that had a Brazilian feel. They were really beautiful, but then I dug a little bit more and found out they were also really political. These guys had been exiled, thrown in jail. I was connecting with it, and I realized that my generation didn’t know any of this music. So I asked our record label, “Can we license this music, and can I make a compilation of my favorite cuts?” That one record led to another one: There was a Brazilian series, then a Cuban series, because Cuban music had not been available in the United States for decades. And I started my own label, Luaka Bop."

""I chose this one because it has 'War Pigs'. It's quintessentially Sabbath even now. They have to play those songs because they are the ones that say everything about that band. Tony [Iommi, guitarist] has said that they were in and out in a few hours when they were making those first records, and this was a pretty quick follow-up. He's a riff master. It's just riffs. It's the essence and the purity of Sabbath that I love, and on this record they really nail it. If somebody were to ask me about Sabbath, what they represent and what they've done, I'd tell them to just go and listen to this record because it encapsulates them so well. They were a Birmingham band too and I think it just shows that a lot of bands from that Midlands region were very prolific. There was a lot of activity going on in and around the Birmingham area. I've always said that the Beatles were responsible for breaking the wall around London down, because before them there was this idea that you had to be from London to be successful. But them being from Liverpool and then later bands like Sabbath from Birmingham sent a message that it wasn't the case and I think that's great. The way that the scene was in Birmingham at that time, we had a fabulous club called Mothers where everybody played. I saw everyone play there: Cream, Sabbath, Pink Floyd. It made Birmingham a real hotbed outside of London for that style of music. We were friends with Sabbath, and I've always considered them to be the inventors of the heavy metal sound. We knew each other and for them to suddenly have this massive impact with this record and be on the radio and in the NME was thrilling. It was before the internet so it took time to get the word out but that made it more exciting to watch for me. When they went to America we were in awe of them because everyone wanted to go to America. Of course we did a few years later, but that was only because of this heavy metal sound that they were responsible for."