"I guess I probably knew Dylan before I knew about The Band and kind of found The Band through Dylan. But I like the way that all of them sing. The three of them in particular, they've got really great, really characterful voices. And they do that thing of switching voices so you get the first verse with Rick Danko and then the bridge will be Robbie Robertson and that changes the perspective and stuff. And that's something that when Gang Of Four started, by the time we got to Entertainment!, one of the things we wanted was different characters. I kind of saw songs sometimes as being a little play, a little drama, so you have different characters. You have the main protagonist and maybe the other voice would be making comments about that character or somebody else would be a different character. To a certain extent, some of that came from The Band, I think. They're a weird bunch, they came from Canada, ended up in America and they kind of drew parallels between themselves and North American history and the way a lot of Canadians ended up in New Orleans and they called them Acadian driftwood. And they kind of sing about aspects of the Civil War and stuff like that. And also they've got a sense of history. It's very much not standard rock & roll subject matter, you know. It's not cars, girls, guitars, and I love that. And they're emotionally touching. They didn't have easy lives, things didn't pan out brilliantly. I'm touched by the way that you can hear their struggles through life in their music and what they're saying."

"I've got some family in Canada, and when I was about 12 we went over for a holiday. When we came back, my cousins had given my brother a load of American music, and that was really the first time that I had heard Smashing Pumpkins. And he'd come back and play these tapes and it was like: ""Wow! Music from America!"" This was the time before the internet, and we didn't have a TV either, so this was all kind of exotic. I remember not really realising that they were playing guitars because it didn't really sound like that. I couldn't tell what it was made of. It sounded like machinery and that it was made of fiddly twiddly weird tones, and obviously with his voice on top of it, I was like, ""What the hell is this?!"" I remember for a year not really liking it, but my brother kept on playing it, and it slowly crept into me. That whole album is so deeply produced that the playing on it, the sound on it, is just fucking awesome. The breadth of different sounds are amazing. Every intro is like a perfect little new world opening up. You always think of Billy Corgan being a total egomaniac locking the other band members out of the studio as the story goes, making Jimmy Chamberlin rehearse for 12 hours a day until the drums were perfect. The end result is this perfect dreamy, shoegaze-y album with a hard core, yet it's also quite gentle as well, which I think is a common theme with all the albums I've chosen."