"I was very fortunate. My dad was a musician, he would take me around to recording studios in Houston. I got to hear some really rippin’ stuff at a very young age. There were all of these rambunctious country artists and guys playing this hod-rod hillbilly music. It blew my mind, as you can imagine. Well, one day we to went ACA Studios, and I got to see BB King play. I must’ve been about seven years old. What a trip! “Needless to say, he made a big impression, and later on, I got ahold of this record, which has always been one of my favorites. Something about it just resonates. The lead lines that BB plays are chilling. Although it’s called ‘Singin’ The Blues,’ on this album I think the guitar really comes to the fore as a strident solo instrument. “It’s often been said that Billy could do more with one note than most guitarists can do with 100, and I think it might have started right here. He had developed his technique so fully - it was so unique and elegant – that he was able to play these ‘blue’ notes on songs that even had almost cha-cha beats. This is a record I never have to rediscover because it never went away"

"That one was going to be the last track on the album, so we had to leave an emotional impact there. It wasn't hard to think like that, given the subject of the song. With a lot of Bowie's songs, you found you were not only being a musician, but a bit of an actor as well. You had to get in there and use your imagination at the same time as your drumming skills to communicate those lyrics with any sort of conviction. You didn't want to say: 'Go out and commit suicide', of course, so you had to find a way of playing it so it didn't communicate that but rather identified with how someone like that might feel at the end of the world – that whole concept. It's one of my favorite tracks. It doesn't need a lot from the drums, bass and guitar. There are times when it breaks down to just the bass drum, and that bass drum needs to be played with despair. So, it was interesting as an emotional song to play. Everything seemed to leave it hanging on that bass drum, so you couldn't play it flippantly. It was how you emotionally felt and getting that across with just your foot on the drum pedal. You look back on that track and think it was pretty risky – especially on his part!"

"It's got the charm of a debut album and he is someone who has inspired me a great deal. I suppose he was taking time off the avant-garde of New York in this album but I like the idea that he was 27 or something and he had already been in the Velvet Underground, which was unlikely for anyone from Garnant in any case - he was making a pop album for a major label in LA and driving around in sports cars and things! Overall, it's not his most experimental or brutal record but the songs are charming and it's still really influential. You can hear 'Sound & Vision' by Bowie is a complete lift from 'Cleo' on this album, it's obviously a record that seeped into people's collections so a music fan like Bowie would have been aware of this album. It's a really interesting pop record and I think as a musician still working, he offers quite an inspirational path as to how you can still experiment. The Super Furries collaborated with him for the film Beautiful Mistake - we got to be his backing band. It was so interesting, it was like an out of body experience for us. I think it was interesting for him as he hadn't had band practice in the Welsh language since the early-1960s or something!"

"When we were talking earlier about a record accidentally affecting a whole community of musicians in a particular town, this is a record which came out on the same South Korean label that reissued the Erkin Koray album. I don't understand the lyrics so I just enjoy the emotion. I think she's a really popular singer in Korea but I've no idea if the lyrics are mediocre or profound! But anyway, I was playing some records in the market in Cardiff with DJ Esther and Don Leisure - whose album Shaboo came out in 2018 and is really great, instrumental sampled hip-hop - and they were both playing this Kim Jun Mi album! I was like 'I know this one' and we had a chat about the album. Later that week, I was having a cup of tea outside a café and a fellow musician, Carwyn from Colorama, stopped to tell me he was walking through the market the other day - he was probably buying veg or something - and heard this track and started describing it to me and it was clearly Kim Jung-Mi. I like the idea of four people in a loose musical community just turned on randomly through geographical reasons by a record that might influence them. It's a community generating a unique cultural identity through chance happenings."