"I didn’t want to have a theme in the records I picked. It’s a record I’ve listened to a lot lately. One of my children is 7 years old and he’s been learning a lot about Greek history recently and picking up tidbits of information. He was saying to me that he really wanted to hear some Greek music. This is not what he wanted to hear. He wanted to hear some folk music, not some weird shit. He wanted: ‘Ops la! Da da da da!’ Some cheery Greek dance music. I stumbled onto this. I asked him if he wanted Greek or ancient Greek and he said ‘ancient’ because it sounded cool. But this is incredibly trippy. It feels like a play. You don’t know where the down beat is for most of the songs. I have never figured out what about it is actually Greek. It was recorded by Spaniards in the 70s. Whether it's real or impressionistic, I don’t care. I just really like it. There’s a lot of haunting stuff in it. I’ll have the record on late at night when everyone else has gone to bed. It’ll be playing and you’ll hear the voice speaking Greek and squeals. I’ve really grown to love it and know certain pieces. I know they have made other records and I want to get them"

"I never really listened to Blur much or many of the other Damon Albarn projects, but I was on tour and kept running into Dangermouse. He was on tour and we were playing a lot of the same festivals. He may even have given me a copy of this record. I remember being in Adelaide in this lonely hotel, drinking a bottle of red wine alone at sunset and listening to this record and being completely mesmerised by it. I love the whole thing. I love Dangermouse’s glitchy, hip-hop Beatles production ideas. It’s just a really great recipe: the whole thing. I spoke to him about making that record but I almost don’t want to know what it involved because it’s so magical to me. I’m totally into Paul Simonon’s bass playing. Even though it’s not a reggae record, courtesy of him it has some of that kind of soul. And Tony Allen’s drumming is wonderful. It almost sounds like military drums. It’s very angular. It doesn’t swing. It sounds like ‘Let’s attack, let’s attack.' At the heart of this record, you have really simple rock & roll performances, but the production brings a lot more detail to it. I’ve worked pretty briefly with Dangermouse on something in the past. I enjoy his personality a lot and I’d sure as hell like to work on a record with him one day."