"This one — they’re just kissing cousins, really — but the last Paul Newman film I’ll talk about is Hud — just the greatest introduction to a character maybe ever on screen. You’ve got this goofy kid walking around town and he walks past the bar, and there’s glass on the sidewalk and the bar owner’s sweeping it up. And the kid goes, “Did you have trouble in here last night?” “I had Hud in here last night.” Such an awesome way to introduce the main character of this film. When you first meet him, he’s walking out of this married woman’s house putting his boots on and the husband pulls up, and he immediately blames his nephew. It’s this really incredible thing. I was lucky enough to work on a college professor’s documentary called The Rough South of Larry Brown. Which is about the writer Larry Brown out of Oxford, Mississippi. In that documentary Larry Brown talks about his writing, he says, “Yeah, you read my stuff and you read a little bit and you might think it’s pretty funny. And then you read a little bit more and you realize, it’s not funny worth a damn.” And that’s Hud. You start it off and you’re like, “Gosh, look at this rapscallion, this character,” and then you realize, “Wow, that’s not funny; there is some deep stuff inside that man that is hurt and angry, but is manifesting itself in very evil ways.” The complexity of that — it’s different than Newman’s character in The Hustler. In The Hustler, he’s doing pride, but there’s something deep going on in Hud that’s darker. It’s more about family and legacy and things that I think, because it’s attached to the family, I relate to very much. I had to deal with familial relationships that are complex."

"Whoever it was that said this album didn't sell a lot of copies but every person who bought it went on to form a band, I think there is probably some truth in that. It is such an influential record; such a truly unique, maverick record and it's one of the records I play more than anything else. I often go back to it now - I will just feel like needing to hear 'Venus In Furs'. It still sounds weirdly modern considering it was made in the sixties. I love the whole way The Velvet Underground went about things - John Cale playing viola, Nico singing on some of the songs and Lou singing on others. It has a feel to it that is unlike anything and nobody has really touched for originality since then. It sounds so strange - it was made in New York during a period that has the whole mystique of Andy Warhol’s Factory. It's also one of the great album covers of our time – Warhol’s peeling banana. I knew Andy very well throughout the eighties until he sadly died. That whole scene was so stylish and underground - they had the perfect name. I've been lucky enough over the years to meet John Cale a bunch of times and Lou Reed - I sat next to Lou at a dinner a few months back - and to me they are still great icons of modern music. We actually played with Lou onstage once in the late eighties. We did a charity show and he came and played 'Sweet Jane' and 'Walk On The Wild Side' with us, which was surreal. We have covered 'Femme Fatale' - we could cover the entire album but it wouldn't be nearly as good so there's no point."

"This was the basis for the baseline in Sleaford Mods, fucking great stuff. Stuff like 'The Lurch'. They did a cover of the Gun Club's 'Sex Beat', that's great. Most of Weatherall's work is bass heavy, it's solo stuff. Wrong Meeting, the album that came after this, that's bass-led. There's a rockabilly feel to it. But with From The Double Gone Chapel it's 80s synths, bass, car alarms. The inner sleeve, which is just a coffee stain and a packet of Marlboro Lights next to it, that really influenced me. Same with Mike Skinner's sleeve where he's just sat in his flat with a pint, it's just fucking brilliant. That's how it is, he's not pretending to be anything. Those things merge, all of it is a big melting pot. I think I've hit it good with the albums that I have chosen for you as far as my contribution to Sleaford Mods. I mean, Andrew, whatever he makes, I go with. Initially, when we started doing Wank, the album before Austerity Dogs, I would have said to Andrew that I want a big heavy bass and I want a dusty Wu Tang thing. He took that on board and made it his own, then he would bring these slices of music to me and I thought the sound wasn't something I'd really go for, but it was quite good. I don't tell him anything any more, he just gets on with it. This the band I've been trying so hard to get into. I think we've been very lucky, regardless of the hard work and the shit me and Andrew went through, it was luck as well. I feel quite grateful that it happened to us."