"Cabaret from Mr. Fosse, initially, as well as Lenny — those two films seem to have made a very big impression on me. With Cabaret — I got a glimpse of it again on an airplane; it was offered in the classics section in the airplane that I was traveling in. And there were moments in that film where it seems he has created painting. For not even an entire second — or an entire half a second — you capture a glimpse of a “creature” that seemed to exist only in the world of a night club in Berlin in 1931. And it was still, but there was smoke coming up from the creature’s cigarette. Like the cartoons of George Grosz, there was a grotesqueness to some of the laughter, and he mixed what seemed to be an almost documentary-like reality combined with a very private story and also a kind of fantastical theatrical reality as well. The camera was always in fascinating spots, the sound creeped in, in ways that captured the subconscious level."

"When Oasis first started, very early on we used to cover ‘Feel The Groove’ by Cartouche. There’s a tape of that live gig knocking about somewhere. I was the dance music head in the group. I was into indie music like everyone else, New Order, The Smiths and then one night in 1987 someone took me to the Hacienda because I’d been reading about this music and I just stood there, drinking Colt 45, thinking 'Well, this is shit…' But then someone else took me the week after and said, 'Have one of these.' And put a little pill in my hand. And within an hour I thought that this music was the greatest thing that I’d ever heard in my entire fucking life. It was a life changing experience. The thing about the Hacienda was it was a superclub before superclubs existed. Acid house only lasted two years and that was it at its best. If you go to a club now you might as well be listening to the same song all night. Back then they played everything, hip hop, electro, acid house, techno and it was all mashed up. It was on your doorstep and full of people who were skint. It was only two quid to get in, they sold Rizla behind the bar so you could skin up and acid and Es were just entering the cultural stream. They were the best years of my life and probably every other day since I’ve thought, 'I wonder what those tunes were called?' Then I heard this album was coming out, I put it on at home and I was instantly transported back into that nightclub. And I thank the people who put this album out. It reminds me of great days when I was young and enjoying life to the full."