"When I was a teenager, I would go to the library, and borrow a lot of albums that I'd read about and that came recommended. Obviously, that's an album that people tend to put in their top 100 records. I just checked it out. I was already into Prince, and I could tell that Prince had been massively influenced by them. Also, the Beastie Boys' Paul's Boutique was an album I liked a lot as a teenager, and some of the samples from that are from There's A Riot Goin' On. So when I did buy this album, and got it home to listen to it, it was familiar to me somehow because I'd recognise drum breaks from the Beastie Boys or clavinet parts from their records that are sampled, but I could also recognise Prince in the singing style. It's just the grooves on that record, really. There's a very lazy feel to it; there's a combination of drums with a drum machine. It was a very early record to do that. That's something I try and do a lot in my own music, and in Hot Chip."

"This would be the opposite to a lot of the records we've been talking about - it's complicated, there's a lot of instrumentation going on. That's one of the things I really like about Tortoise, they can play all that stuff live and pull it off. I think they have nine members sometimes, maybe even more, but it's one of those records where it's a really cool electronic record but it's actually really organic because these guys are really playing. Those two things are so different and so hard to blend well, I've tried it myself and failed often, it's hard to do. The musicianship needs to be there, and the programming needs to be right - I may be wrong but I think a lot of those type of songs are created electronically and then people try to interpret them, but with Tortoise I don't know how it starts - do they start organically and then interpret them electronically? Especially with Standards, it's a perfect blend of the two. I definitely feel an affinity with post rock groups like Tortoise, maybe people like Shellac as well."

"I was not really listening to what was going on in 1979. A lot of popular music wasn’t very good. There was a lot of punk hangover and a lot of it was a bit… whatever. At that point, Wire were stratospheric; it wasn’t really important to listen to what other people were doing. We didn’t have anything to do with Gang of Four. They were coming from a very different place. We studiously ignored Joy Division because they seemed a little too derivative of us. Maybe that seems like arrogance in hindsight but that’s how it felt at the time. Bert Jansch’s Avocet was very off compared to what was going on in music in the late ’70s. I knew about him when I was in school because he was in Pentangle. The whole thing with music fans in the late ’60s was all about: “Are you Jimi or Eric?” Then there was a group of us who were a bit cooler who said: “Are you Bert or John?” Which meant John Renbourn, the other guitarist in Pentangle. The kind of people who liked Jimi Hendrix would sit in their room playing solos and making a guitar face."

"The other thing I should mention is that I had these two books called the Rough Guide to World Music, which are two giant volumes. I was obsessed with those for a long time. At the time, you had to go and buy a load of CDs, you couldn't just go on Spotify and check it out. It was a bit of an investment. A lot of those countries have got these dudes who, in the 50s, suddenly heard James Brown, or something, and went: shit, what we're doing sounds really old fashioned. We need horns, and Hammond organs, and guitars. It happened all over Africa. There's not an awful lot to say about this song apart from that it really blends a lot of worlds for me. It blends the guitar, with the world music thing, and with the saxophone as well and that's why I think I love that song so much. It's only that one song, I can't find anything else by that guy. Whenever you play that track it's always going to pick everyone up. It's got such an incredible energy."