"I think that this is one of the best albums of all time. It's hard to talk about. I feel like that album is the Sgt Pepper's of my generation. It's a record that knits together a whole generation of music-lovers. The fact that it's separate and isolated is sort of poetic. My generation wasn't connected by a band; we didn't have a Beatles. We had our own bizarre little pockets of music, our own separate ways of listening and connecting. That record functions in the world unlike any other record. I've never seen anything like it. It is a religious record. People feel so fondly about it, in such a profound way. Beyond time and space, on different continents, at different parties, the name of that band will come up and you and stranger will grab each other's hands. There's not a whole lot of music that can do that. Something about that album and those songs created a deep thread of human connection through a lot of people. I think it's incredibly rare. I think all musicians inherently want to connect, because that's what music is. Music connects you, through this magical medium, to another human being. Listening to Neutral Milk Hotel and looking at the artwork for that record and listening to how it was made, and thinking about the mythology of the Elephant 6 collective, it's like Sgt Pepper's – you imagine that there's this magical world somewhere, with all these crazy musicians, living down the road from each other, banging on pots and pans and playing brass instruments, and you want to be there. You get to soak that magic up just by listening to the record. Brian [Viglione], the drummer in the Dresden Dolls, got to see Neutral Milk Hotel when they were touring that record. He was the one that turned me onto it. In the middle of the night, after our very first band rehearsal, he took me over to his house and said 'I can't believe you've never heard this record. We're not doing anything until we sit in the dark and listen to it from beginning to end.' That record was always really important to us."

"I would imagine many babies were conceived to this album. If you think you're a singer or you want to do a bit of singing, it's a must listen album. Even when he's just scatting the lyrics and singing along to a melody – which is the way he apparently used to write a lot of stuff, by just going to the mic and ad libbing – he's amazing. I'm not very interested in politics as a musician – never have been – but he managed to incorporate what was going on in US politics at that time in a highly poetic way. I got to meet him and perform on a show with him at the Motown 25 concert in 1983. That was Marvin's last performance. I did 'Where Did Our Love Go' and Diana Ross came on stage when I was doing it, which was quite an event. She just danced around me and then went off. There was a knock on my dressing room door before the show and I opened the door and he said, ""Hi I'm Marvin Gaye"" and I said, ""I know you are!"" He just came to say thanks for doing the show. He was a really nice guy. And when I came off the stage, him and Smokey Robinson were waiting for me and they put their arms round me and all that. It was nice to meet him; he was such a gentle soul. Berry Gordy's No 2 was a woman called Suzanne de Passe who was the MD of the company and she'd seen my videos and heard my stuff, and Berry liked it. The theme of the show was 'Yesterday, Today, Forever', and he wanted something that was in the future style. I think I performed with all my heroes and heroines that night. I'd been listening to their songs all my life. I had the unenviable task of following Michael Jackson. He sang 'Billie Jean' and did the moonwalk for the first time. I was ten feet away from him when he did that. It was quite a memorable evening."