"This is a go-to tune for me whenever I'm doing any of my TS5 shows. I remember when I was playing out the original in the early ‘90s, but I prefer the remix of it, where the beat is a little tougher. “Show Me Love” is always guaranteed to go down. Anywhere I go, as soon as people hear the opening chords, they're like ‘That's a tune I can make memories to.' “And her voice! I got to meet her at Ibiza Rocks, where I do a pool party residency. I played the song in my set and I looked up on the balcony where she was standing, and it was this moment - I'm playing the song, Robyn S is up there mouthing the words to me. I'm thinking, “Should I jump off the stage and get a mic to her? Should someone get a memo to her to come down?” And she's sending me love heart signs from where she's standing. It's Robyn S! And I'm playing one of the most iconic dance tracks of all time. “Why does it resonate with people? Well, for one, the vocal range she's hitting grabs you from the start, like that long “Ohh” she hits at the top. It's also a very simple synth line, which it has in common with “Nightcrawler” too, and it has a simple chord progression. Everyone was trying to copy that kind of pattern, but her line just nailed it. “And lastly it's what she's trying to say, ‘Show me love’. Instantly you feel this euphoria, you feel uplifted. And it's kind of angsty the 'show me love' she's singing, like ‘you gotta show me love and pass all the nonsense’. But if you don't know the context of the story and you've just got your hands in the air, it’s like “ahhh”, you feel it"

"I heard this on the radio in the States, and I loved the songwriting. He was coming up with something different, it was a soulful folk, so I went and bought the album in LA, I thought “I gotta hear what this guy does” and every bloody track on it is a gem. I’ve always loved the sound of an album, maybe as much as the songs themselves, you know the performance, the sound of it makes a big difference to me. And now you know you can get box sets with alternate takes, and you realise then how long it took them sometimes to get the final take. The first time they did it was good, but then all of a sudden - boom - and there it is. I think there’s a good learning process to listen to the ones they didn’t let go, where the producers said “not yet”, and they persevered until... there it is. When I’ve been in a club sometimes, I’ve gotten up [on stage] and they’ve been like, “Do ‘Delilah’!”, and I’ve said “Let me just do this, which I don’t normally do"". So it is, because when you’ve made big records - great onstage, the way you do your own show - but it’s great to do other stuff when you don’t have to do those things. Not that I don’t like them, you know ‘Delilah’’s a great record, but its nice to do other things. So when you hear someone like Bill Withers doing something like that and being successful, you think, “See, there’s room for that.” There’s room for all different kinds of records. They don’t all have to be the same, or in the same vein, or chasing some things just to get a hit record."

"I just think that it's a perfect record. The cover is exquisite; it's still one of the most iconic record covers of all time, so beautiful, mysterious and alluring. Every song on that record is great; it's a brilliant record. 

 That sort of worn-out sound of her voice felt very different to me than a lot of the female voices that you hear, even to this day. She's got this very distinct gravelly, worn-out, fucked-up voice that sounds like she's done it all and of course, she has.

 I just think she's a really interesting artist and she continues to take risks and never does the obvious which is something I've always loved about her. 'Why'd Ya Do It' is still one of my all-time favourite songs and it thrills me – this sort of vengeful, raging expression of total disappointment in somebody. I just really identify with that song for some reason. Her version of 'Working Class Hero' is gorgeous as is 'The Ballad of Lucy Jordan' – both are just amazing songs. 

 She's not been born with the greatest of voices and in this climate where everybody's a stage-schooled kid and everybody can sign multiple octaves – they've not actually got any soul in their heart – she's all soul and all desire to communicate through this fucked up voice that's full of frailty. I just think she's so exciting as a result. 

 She was born so beautiful that she could've easily cultivated a very sort of alluring, very traditionally feminine voice and yet she didn't: I'm so grateful to her for that. There's a lot of androgyny that comes out in her sound, which I really identify with."

"This album is a real folly. I don't want to defend Phil Collins for a second, and when I see footage of the Slipperman [a naked lumpy monster with inflatable genitalia who emerged onto the stage by crawling out of a giant penis - Ed] I just chuckle at the thought that it just didn't make any sense to Phil Collins and it really pissed him off. He didn't like seeing Peter Gabriel in this costume. Gabriel didn't give a fuck though, he just wanted to do this piece of theatre. Just round the corner from here is the Palace Theatre, and that's where I saw them do The Lamb Lies Down On Broadway, two nights running, when I was 15. We just used to sneak into all the gigs, me and my mates. We were desperate to get into this one because we'd seen them on the Whistle Test but we couldn't get in for love nor money. We were stood outside and the guy who ran Virgin Records on Lever Street was there. I used to go to that shop three or four times a week to buy all my albums, and at about five to eight he came to the door and he recognised me from the shop because I used to ask him for advice, and he beckoned me over and put a ticket in my hand. It was sixth row from the front, and I was just blown away by it. It was one of the greatest things I've ever seen. It was presented as theatre. There were a lot of props. There was a big mesh cage that Gabriel performed in, there were a load of strobes going off. How did they represent a wall of nothingness sweeping across Times Square? Just a bit of smoke I think."