"When I was a teenager, I would go to the library, and borrow a lot of albums that I'd read about and that came recommended. Obviously, that's an album that people tend to put in their top 100 records. I just checked it out. I was already into Prince, and I could tell that Prince had been massively influenced by them. Also, the Beastie Boys' Paul's Boutique was an album I liked a lot as a teenager, and some of the samples from that are from There's A Riot Goin' On. So when I did buy this album, and got it home to listen to it, it was familiar to me somehow because I'd recognise drum breaks from the Beastie Boys or clavinet parts from their records that are sampled, but I could also recognise Prince in the singing style. It's just the grooves on that record, really. There's a very lazy feel to it; there's a combination of drums with a drum machine. It was a very early record to do that. That's something I try and do a lot in my own music, and in Hot Chip."

"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."

"If you listen to the first Saxon album, you can hear where the band was at that time, and what we were talking about earlier, with Free and Yes. That album is split three ways: the songs we wrote together that were fast and aggressive; then the more proggy tracks, longer and more musical; then blues riffs. So if you listen that album you can see there were three things that could have happened - we could have been like Free or like Yes, or we could play a new, aggressive kind of music, singing about motorcycles, and those were the songs we wrote together. If you listen to that album you could see where our influences came from, and how it all came together to create ‘Wheels Of Steel’. If you listen to ‘Backs To The Wall’, that is where I was coming from – try to get away from where you're supposed to be and drag yourself out of that to become a musician. ‘Stallions of the Highway’ is maybe the forerunner of ‘Motorcycle Man’ and the songs that Metallica and Megadeth took from and then invented a new kind of music"

"He released records on numerous labels, but this album was on the Herald imprint, and it features a song called Moving Out Boogie that alone is worth the price of admission. He kind of talks his way through it – it’s not really singing in the traditional sense – but the guitar playing could wake the dead. What he does in two and a half minutes on the guitar is enough to make you want to throw your fuzz and wah-wah pedals as far away as you can. Just toss 'em over the fence! If you can play Moving Out Boogie with even a third of the spirit of Lightnin’ Hopkins, then you just might have a chance. It’s the way to move, man. He played it like he wanted to play it. Our fair bassist, Dusty Hill, worked with Lightnin’ Hopkins a bit, and one time he said, ‘You know, Lightnin’, you seem to play in odd time signatures. One verse will be eight bars, and the next will be 10 bars.’ And Lightnin’ just said, ‘It don’t matter. Lightnin’ changes when Lightnin’ wants to change"