"Despite the fact I love all sorts of Crimson records, I think this is still my favourite. Maybe just for nostalgia reasons, I listened to this record when I was very young. Before I was into jazz, before I was into weird music, I always loved this. Obviously I grew up with The Beatles and the Stones and Floyd and stuff, but I remember I was in a car and Jimi Hendrix came on the radio. I said 'what is this?' I was only 12, and a guy I was with looked at me like I was insane. In those days gas stations had lots of cassettes so we pulled over and I bought a cassette that had Are You Experienced on side A and Axis: Bold As Love on side B. I listened to it until it was completely worn through. That was my introduction to the 60s stuff that I hadn't been brought up listening to. King Crimson's early stuff was among that new, exciting 60s music that I hadn't heard. Robert Fripp became my guitar hero, he used to do a League of Crafty Guitarists thing in New York so I saw him play. I became a Fripp head, I saw them play in the 90s with my English teacher. It blew my mind, but they didn't play the old stuff. I'm not musiciany enough to like that stuff, but the early stuff resonates a lot."

"Like a lot of people of my generation, the first time I heard a Kurt Weill song was The Doors. You go half a lifetime without realising it was written by Brecht and Weill. Recently I went on a journey. I write songs with a guy called Reid Paley. He’s a very less is more, economical songwriter and you know there’s something about him that’s very tin pan alley. He wears a black jacket and a white shirt and has no problem banging out a song. He is not going to use a word like ‘thalossocracy’ in one of his songs. I felt I needed to get into the feel of Threepenny Opera - how has it survived all these years and spawned all these cover versions which are part of the jazz songbook? I really needed to educate myself and listen to that record ten or twenty times to hear the melody and the meter and the drama, what they put together, those dudes back in pre-WW2 Berlin. They were working really hard and we’re still talking about those records today. I was just enjoying it in and my wife was listening along upstairs. She was doing laundry and I was doing pots and pans. And she said: “I could listen to this all day long, whatever it is.” I don’t speak German so I’m missing a lot outside the English part of the libretto but I still love it."