"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."

"""Rather than going into the technicalities about them as a band, with The Only Ones it’s more about what it says about me as a teenage fan. I went to a lot of places to watch them, I slept in at least two bus shelters and on the kitchen floor of someone I didn’t know once. Sometimes I’d have tickets and sometimes I’d sneak in to see them and not just in the North, I came down to London and saw them at Dingwalls and The Lyceum. “Peter Perrett was feminine, and if you were a real fan of The Only Ones he had this thing where you’d almost imagine him as a really cool older brother who you didn’t know, that was the way I used to look at him. He led the gang, but he was small and I was small, and he got really involved when he played and that’s the thing, they were a really tight, great rock band. In a way he was almost like my Syd Barrett, he had a very poetic aspect to him. I was already well into studying what the rules of being a bohemian were about and he was it really. “John Perry was an amazing guitar player. Even then, when I was really learning my thing, I was aware it sounded exactly like a Jimi Hendrix lick crossed with a Jeff Beck lick from The Yardbirds, he was of that generation, probably a second generation Marquee, Wardour Street guitar player. They had a really fantastic drummer too, Mike Kellie from Spooky Tooth. They were a great ensemble and I knew they were really rehearsed and it really mattered to them. Peter Perrett never turned up like some druggy mess. “‘No Solution’ is a lesser known one, everybody knows ‘Another Girl, Another Planet’, but it’s the fan in me turning people onto one I think they’ll like but might not know. Fans of The Only Ones will know this song, but when I say fans I’m talking about the people in the audience, I think there were only five of them and I’m probably the only one still left alive!"""

"Nick Cave is one of these very rare male artists that has managed to hold my attention and interest over the course of four decades now. He is extraordinary and continues to push his artistry and has never cheapened himself or been a desperate gambler in Vegas. In regards to his musical career, he's always just done what he does, so beautifully, with no compromise to the musical climate. As a result, [he] has created his own genre, really, that he is king of. His career is just continuing to blossom and continuing to grow. It has this incredible reach now and is touching new generations. 

 He is one of the greatest artists, storytellers and musicians that I have ever met and have ever been around. I feel lucky to be here to enjoy his work and I'm so grateful that somebody like him is out there still. He is this incredible answer or rebuke to the current climate of just completely vacuous people-pleasing pop music. 

 He's a truly incredible wordsmith too and he is really blessed with the true greatness of a writer. He's not a pop lyricist by any stretch of the imagination: he's a great erudite communicator and you can feel that in his music, in his lyrics, in his books, in his scripts. He's bordering bona fide genius with his words – just so poetic and so very honest and authentic. 

 Each record is a logical sort of expansion from the previous record, but he's a great storyteller, and a great communicator, and a great connector too. I can't think of anyone else who has the kind of career he has, where he's never had a hit – not really, in the traditional sense of a hit – and yet enjoys this phenomenal career where he's now selling out fucking arenas around every corner of the world. I mean, it's mad. 

 He's so unique and just doesn't sound like anybody else. He's got this phenomenal band too in The Bad Seeds whose musicianship is just incredible. It's like going in to listen to an orchestra because it's so emotive and powerful: to see him live is truly extraordinary."