"I was doing a lecture tour mostly in California and I was being driven from place to place by my friend David Snow. I bought this CD [Glider], I don't know why I brought it with me, I hadn't heard it, I'd just picked it up on the way over from England. I put this first song on ('Soon') and I never played anything else. I don't know if I ever have ever played the other songs on it. I just put that thing on and it's just such a sonic experience, and in a car it's amazing. We had a hired car with an amazing sound system, and just being inside that music actually has a lot to do with what I'm doing now with this three-dimensional thing. You get that feeling in a car where you're really inside the music, you don't really get it in a room very often. It's such a statement. I remember that experience in the car so strongly as we hadn't actually used the hi-fi before in the car and it was turned up really loud. Oh my god. It's so chaotic, and recording doesn't capture chaos very well, it usually tames it, it contains it in a way. Again, it's about voices. One of the things that I really love in that is the fact that there's singing in there but you have no idea what it's doing. You can hear that somewhere in that thicket of noise there's somebody doing something but you have no idea what it is. I thought that was great, that singing could be like that. It doesn't have to be this person at the front with all the articulation and every word clear. It can just be a person in that mess and that was a real liberation for me."

"The Kinks, like The Who, are one of those quintessentially great English singles bands but I’ve listened to this album so many times and I just fucking love it. It’s obviously such a big influence on Damon Albarn’s writing. You know the song ‘Big Sky’? 'Big sky, too big to cry.' You can almost hear someone shouting 'Parklife!' at the end of it, do you know what I mean? On the opening track you’ve got the lyrics mentioning all the strawberry jam, Fu Manchu, Mrs Mop and all this quintessentially English stuff, and when I started getting older so I was listening to records not just feeling them it suddenly hit me, 'These lyrics are fucking outrageous. How do you get all that stuff in there and make it work?' The album is incredible. I’ve got an old album of interviews with Ray Davies and he was saying that he thought it was important that we keep all of this traditional stuff like afternoon tea, cricket and cucumber sandwiches alive because American culture was taking over the world but he couldn’t imagine it taking over England. But then you realise… oh shit… it did. What a cunt. What a cunt. It took ages to come out because of legal shit, got delayed for three years and then no one bought it. I presented him with an award a few years ago and I thought, now’s my chance to get to know more about the writing of such a great album. So I was like, 'So Village Green, tell me about this great album…' And he’s grumpy at the best of times and just went: [snaps] 'Oh, I don’t know.' I was like, 'Ok, good to get that one sorted out finally. Nice to meet you.'"

"It's one of my favourite concept albums, one of my favourite psychedelic albums, one of my favourite albums from that period full stop. I don't really know what the story to it is, I've never really bothered to figure it out, I just think The Pretty Things are one of the coolest bands of all time. There's something so edgy about their take on British Brian Wilson-influenced music. I love Odessey and Oracle, and I love all the more famous concept albums, but there's something about S.F. Sorrow that feels so much more rock 'n' roll, there's something about the way that they play that feels like punk rock for its time. They just have a real cool edgy energy, but at the same time it's sophisticated and lush. Obviously there were a lot of different bands experimenting in England at that time, but this is special to me because it feels more glib and more flippant, and less precious. It's well thought through but it has a useful punk edge that puts them in another class. I think one of the first times I really got into this album and realised what a masterpiece it is was ten or eleven years ago when I first met my girlfriend Charlotte. We went up with a few friends to a farm in Pennsylvania. It was the first time Charlotte and I kissed, it was a very magical lost country weekend. I remember hearing this record a lot that weekend. I already knew about The Zombies' Odessey and Oracle and I was a huge Beach Boys fan, but I didn't realise that the Pretty Things had done something so complete. They were leading the way, they were ahead of their time and not just copying the others, they were setting the bar."