"I'd already bought the single, 'He's Misstra Know It All' and played that to death. I bought this album on the day that it came out in Woolworth's, when I was on holiday in Eastbourne. And then I had to wait a week to listen to it. I spent that time reading the back cover about Moogs, ARPs and other synth sounds and I didn't even know what those words meant! My imagination was quite engaged because he seemed to have played all of the instruments and that was unusual back then. But I've always liked records that have that much of a one-man stamp on them. The sound of Innervisions was different from what was around at that point. There wasn't anything that sounded as colourful as this album. These new synthesizers sounded sensuous and they were moving in a very animalistic way while being chest-resonators with humanistic kind of sounds. It was fascinating when I was first getting into music. It was a more sophisticated kind of pop music compared to what was going on at that point. All these complicated chords that Stevie Wonder was using were very intriguing to me. The sonics on this album really hit me and some tracks are more fruity than others. Then you had tracks like 'Visions', which are more jazzy and quite guitar-orientated. They gave me feelings that I didn't understand as a teenager, and even after over 40 years, Innervisions keeps on giving. I keep going back to it because it's got so many emotional layers: there's anger there, there's tenderness and there's a lot of commitment to the music. Stevie Wonder seemed more real and that was something you could align yourself with."

"There are certain records that I know a lot about and others that I don't, and I think this one, for me, purely on a symphonic, musical level, it just is one of my favourite classical pieces. I think it's especially about the first movement, where the double-basses come in barely audibly, and it builds and they're just repeating their pattern. There's something about pattern in classical music, and that's why I've chosen Steve Reich as well: phrases and themes that get repeated and then get others on top that repeat, it's a cyclical thing that starts to happen with this harmony and rhythm, and it fascinates me. I also love double basses being bowed, there's just something about that that really pleases me. It builds into this huge thing and there's this moment where there's just one piano note, like a summoning, and the woman's voice comes in. I just think it's really soulful. I could've chosen Ravel's Bolero, which is also a really popular piece of music, but it's another one of my absolute favourites because again it's repetitive, it's almost like dance music, it's a repetitive theme that builds and builds. When I was going to see Underworld, off my face, in a tent - I think there's something similar, when instrumental music just builds and builds and builds. [Górecki] is really interesting technically as well as emotionally, which is the theme of this whole discussion almost: my greatest love is of people that have managed to walk that line between technical, competent songwriting or structure or understanding the art form and understanding the craftsmanship and at the same time imbuing that with reality and grit and fucking true connection to soulfulness and the universe. You can make a person cry because of what you're doing. That combination is just dynamite, isn't it? There's nothing better. You can sit in a room making a lot of avant-garde white noise and wanking over yourself, that's fine, or you can make amazing, soulful pop songs. Surely the artist's job is to be a consummate craftsman but within that be a complete child, innocent of expression and tapped in."