"I'm the step-son of Al Green, so that's my father in many ways. Let's Stay Together has that tom-snare that just gave it this whole deadpan quality, and then there's the organ work. It sounds like church. What's so special about the organ is that it's got that dichotomy about it. It can sound absolutely angelic or downright evil all at the same time. It's the only instrument can sound like that to me. And they made good use of it. He used the same sounds, the same producer, the whole way through; it's not like records today where people use this producer or that producer. That's what I was able to acquire with Danger Mouse. Al Green is everything. He's everything that I am."

"I think this counts as an illustrated sleeve. I mean Kraftwerk are up there with Bowie as being one of the coolest. I think when you look at Kraftwerk they are the perfect example of a band that always retain their mystique and really live by the whole world they've projected. Every record of theirs really draws you into it. On top of that, they're one of the world's best live bands. I've seen them maybe three times and their sound quality was unbelievable, they just sounded so good. I got really into running at one point and I'd always listen to Tour de France. I guess it was kind of made for that."

"Alan Lomax was a folklorist and ethnomusicologist who was making archival recordings and field recordings in the 40s, and this album consists mainly of prison chain gang songs. The first time I heard it, it stopped me in my tracks - it was incredibly moving to hear because it's just the sound of male voices and pickaxes and nothing else... it sounds haunted but hopeful. Like listening to ghosts, the quality of the singing and the recording [is such] that you can never have again - a document of its time. It's spiritual: the pain is in their singing, which would have been their only mode of expression. It's singular and not something I'd put on everyday, being a heavy listen."