"I was listening to this album when I went through a nihilistic phase in my life. I only listened to Sally Can't Dance by Lou Reed and this record. It's a very murky and dark record and if you're ever going through a period of your life where you're doing a lot of drugs then this is a good record to get into. It's perfect for a murky time. It's mysterious and I like it because while it's a funk record it's a funk record slowed down to Portishead speed or whatever. It just feels like you're in a slow motion dark funk thing. Yet inside of this drum machine-filled landscape are these lyrics that are very evocative and mysterious and they really deal with the delicate frailty of human emotion. There's a song called 'Spaced Cowboy' on it where he yodels, it's such an idiosyncratic album but I cannot recommend it enough, from start to finish it's beautiful. Apparently 'Family Affair' from this record was the first song to be played on US radio that had a drum machine on it. The whole record is filled with this drum machine called the Maestro Rhythm King. I was so obsessed with this record that I even found the same drum machine on eBay and bought it back when eBay was a new thing. Then my first wife took it in the divorce! She took it because she was so obsessed with it too. It's such a cool drum machine. I really miss it. I would like to have it back if it's possible."

"What a surprise! Actually a movie about people! No special effects, no super heroes, no gunfights; just a riveting two hours and 15 minutes about some human beings you can recognize as real, going through the agonizing upheavals of a marriage that is no longer working, and therefore facing the daunting, heartbreaking throes of divorce. That’s Noah Baumbach’s new picture, “Marriage Story,” and it is right up there with the best of this exceptional director-writer’s finest work, thus only confirming my long-held opinion that Baumbach is vividly among the top picture-makers of his generation. It is a joy to see and hear actors speaking dialogue that is superbly crafted and profoundly believable. And to watch a film during which the camera is always in the right place for the actors to shine and the scenes to play most effectively for the audience. All this talented and insightful direction, of course, results in brilliant performances. If there is a more nakedly affecting and moving turn by an actor than Adam Driver’s here, I certainly haven’t seen it. He’s always good, but this is truly striking, vividly touching, and simply as good as it gets in modern pictures. I always enjoy Scarlett Johansson’s work, and she certainly doesn’t disappoint here. And Alan Alda’s aging character is memorably drawn. Like so much of the best American movies, Baumbach’s work here is both deeply personal (though not autobiographical) and at the same time quite clearly universal. I really hope that this picture is successful enough to encourage other filmmakers to bring real people to the screen, and to tell stories that resonate with reality."