"That was one of the 50 albums my mum played all the time when I was a little kid - that is just so deep in my subconscious that I can't even describe what it is I feel when I hear her singing. I remember coming back from college and playing some Laura Branigan for Chris Keating or some friend and them just thinking it was second rate Donna Summer, which it probably is. But I'm like, "Don't you hear the emotion in her voice - it sounds like she's crying!" That was the kind of over the top but still sincere genuine passion I wanted to get on 'Hold You Tight' from the musical. All the reviews of the musical are very critical of this one song, which is probably one of my favourite songs, because it actually sounds like it could be from a musical. It's very Broadway and not very indie rock at all, and I kind of wish we'd been a little less conservative in just going for it. 'Self control' is a timeless theme. Keep it under control in the day and let loose at night."

"This got quite mixed reviews when it came out [in 2012], but I think it's really affecting. The guy had colon cancer, and when this album is great – I don't love all of it, but I love a lot of it – it's like an old man's reckoning. It's full of apologies and remorse, but still the old Bobby Womack is in there. There's still some disdain, but he's also quite sad, as he knows he's at the end of his life. I love how he sings those lines in 'Please Forgive My Heart': ""I'm a liar/I'm in a dream…"" It's a performance miles away from the swagger of an album like The Poet, which was perhaps his greatest ever record, in 1980. I remember he was seen as the godfather of contemporary soul back then – he got an album of the year in the NME around that time too [for 1984's The Poet II]. But on this record, he's this disjointed elder, and he's also someone else. He's standing in this fragmented terrain of 21st century soul music, this great survivor in a sci-fi movie. What a way to approach the end of your life."