"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."

"And the last movie I want to recommend is a movie that I’m a part of and it’s called American Gangster. I started to say Man with the Iron Fists. [laughs] Man with the Iron Fists because of the power of dreams, to show that a kid who watched movies and loved movies could one day grow and work with his favorite actors, and bring a movie to life. But that’d be number six, alright? Number five would be American Gangster, because not only is it a film that I’m a part of, but the reason I’m so invested into this movie is because Hollywood invested over $100 million into a black man’s story. This doesn’t happen a lot. It’s a story that captured a time in Harlem when drugs were rampant, music was growing, this whole culture was building up. And even though it shows a negative black man, it still showed the same thing The Godfather showed: the power of family. He did it for family. And it also showed the genius of the black criminal mind when it comes to being an entrepreneur and branding. He had a brand. And being a guy that started a brand like Wu-Tang Clan, when I heard how he made his brand Blue Magic and how he tried to protect his brand, and how he had to fight against others who were infringing upon his brand, it really resonated with me. Denzel Washington gave a great performance, Russell Crowe did as well, and that was a big breakout role for me as well, that movie."

"That would have come out in 1998 when I was around 17. My record collection at that point was mainly made up of U2, Radiohead, The Beatles, The Smiths. I hadn’t really been an indie kid in that sense of going to see bands and being part of that kind of world, because where we all grew up as a band, there just wasn’t a music scene at all! So we just spent our time making music, we never went to see much. Gomez is one of those total, bonafide, university, indie bands. It’s such an inventive record for a brand new band to burst onto the scene with. I loved the fact there were two singers with such contrasting voices. They’re all great songs, 'Here Comes The Breeze', 'Tijuana Lady'… it chimed in with where I was at the time, just getting out of school, smoking dope for the first time and experimenting with drugs. The album has that sense of youthful abandon. You can tell they were just fearless; maybe that’s what stopped them in the end from going on. I always feel that Gomez should have been a much more important band. I remember being up at University in Edinburgh, I got the National Express down to London one night, it was so uncomfortable, I got off at every stop and was getting smashed on this very strong weed and then going back on, and I had a proper old school Discman, and I was just listening to this Gomez record, up all night. I got to London, full of beans and was like, “We’ve gotta be this inventive!”"

"One of my favorite films of all time has got to be Mary Poppins. Well I was old enough to remember it when it came out, but I don’t think I saw it in the cinema, I think I saw it when it eventually came on television. In those days, you had to wait about six or seven years before a film got from the f–king cinemas to the television, and it being Disney, they never actually released their films. It was a very clever policy: They just re-released them every 10 years. I think it’s one of those movies. I was having a very depressing time recently working on a job. I was feeling particularly bad and I put the television on on a Sunday afternoon, and Dick Van Dyke was singing “Chim Chimney” — it just lifted my spirits. Everybody criticized his Cockney accent — and even at the time I probably joined in — and you can criticize his Cockney accent, but you cannot criticize his brilliant comic dancing. It’s f–king wonderful. Oh, it’s wonderful. And the quality of the work: The beauty of that film, the simplicity of it and the way it was made and directed; the charm. The way it appeals to people — it’s the old cliché, you know: Eight or 80. It’s a wonderful piece of work. And it’s magical. It’s one of those films, you know, that you can dip into. If you’re ever feeling low, stick it on and you’ll feel much better. If you haven’t got any illegal drugs, put that on and you’ll be alright. [Laughs]"

"That was a real Verve record. We all really got into that. That came to us from Steve Sutherland (Melody Maker) of all people. [The photographer] Tom Sheehan and Steve were early fans of the band and they championed us to some degree. But they dispelled that notion that people in the music industry were cynical music haters. You'd be hard pushed to find people who were as into music as they were. Tom and Steve used to send us tapes and one of the tapes they sent us on one side had On The Beach by Neil Young, and on the other was If I Could Only Remember My Name. Instantly we all went, ""Oh my god, how good is that?"" It became a real Verve favourite; everybody in the band was huge on that. I think the whole record has just got this unique atmosphere. I'm sure drugs have got a lot to do with it. It's a world in itself that record. Sonically, there are some real moments of paranoia on there. It's a very powerful record. You wonder how they were capable of doing something that amazing the state they were all in. But I don't think they managed to do anything quite as good as that. It all became a bit earthbound. It really stands out in the whole Crosby, Stills and Nash canon – that one is the peak for me. It's almost like a diorama; like a little enclosed box that represents a state of mind they were in at the time, and you can look in and have a poke about, like a rock pool. It's like a little universe."