"When Oasis first started, very early on we used to cover ‘Feel The Groove’ by Cartouche. There’s a tape of that live gig knocking about somewhere. I was the dance music head in the group. I was into indie music like everyone else, New Order, The Smiths and then one night in 1987 someone took me to the Hacienda because I’d been reading about this music and I just stood there, drinking Colt 45, thinking 'Well, this is shit…' But then someone else took me the week after and said, 'Have one of these.' And put a little pill in my hand. And within an hour I thought that this music was the greatest thing that I’d ever heard in my entire fucking life. It was a life changing experience. The thing about the Hacienda was it was a superclub before superclubs existed. Acid house only lasted two years and that was it at its best. If you go to a club now you might as well be listening to the same song all night. Back then they played everything, hip hop, electro, acid house, techno and it was all mashed up. It was on your doorstep and full of people who were skint. It was only two quid to get in, they sold Rizla behind the bar so you could skin up and acid and Es were just entering the cultural stream. They were the best years of my life and probably every other day since I’ve thought, 'I wonder what those tunes were called?' Then I heard this album was coming out, I put it on at home and I was instantly transported back into that nightclub. And I thank the people who put this album out. It reminds me of great days when I was young and enjoying life to the full."

"I've never seen them live, but I've seen loads of footage of them performing live. 'Hotel California' is an incredible track, or at least I think so. It's like a best of American rock, or country rock or whatever you want to call it, it's the perfect example of that genre. It's got perfect harmonies, really good songs. I love watching them with their double necked guitars and shit like that, it's just really professional, really impressive, something that I could never do. It's an admiration thing. I got into The Eagles late, about 1990 or something. I started hearing them a lot on the radio, I'd known their songs but hadn't paid any attention to them in any detail. Then when I started listening to them properly, I thought, ""Yeah man, that's pretty damn cool"". Living in America it's been interesting to discover that there's a much bigger alternative scene here than I imagined there was. I live in Brooklyn and there's a big electronic scene here, lots of people doing experimental music. The whole thing started with electroclash really, I loved that [chuckles], it was so cheeky. Since I did that record [VCMG] with Martin Gore I've been listening to a lot of techno stuff, it's not one particular artist, but I'm on Beatport every day. It's quite a revelation, I was quite out of touch with electronic music, but now I'm finding loads of new stuff. I'm working on another collaboration record, with various DJs and mixers, it's quite a long project, but I thought that rather than work with an individual it'd be interesting to get different people, get different angles on the music. Hopefully when Martin comes off tour and has a bit of time we could do another record together, because I really enjoyed doing the last one."

"How I got to know about it was through knowing their original record label Kitty-Yo and working with people in Berlin and going over there, and then I met Ronald, and this album summed up a moment for me. Dance music had so completely dominated the 90s. Really you could only ever talk about music in terms of the beat. There was techno and electro and then there was drum & bass, and they were so dominant; there was no other music. I remember thinking at the time, at the height of drum & bass, why would you listen to any other kind of music besides drum & bass? That's the only kind of music there is. There's Britpop, but that's rubbish. And then towards the end of the 90s all that started to fade and there was Tortoise suddenly appearing with what Americans who didn't do dance music did as instrumental music. And then from Germany you had To Rococo Rot. I think they gave me that record, because I think the version I've got is a promo. And again it's one of those records we just listen to over and over again. Wire did a tour, I think it was in 2000, and when we started we hadn't provided any music to go on before the band. And in every venue they were playing something like Soundgarden. Sorry, but I can't stand Soundgarden. I can't take it. So then we said well why don't we give them some music to put on? And I had that album, so we had that on before every show and it was really good. It was like you have some thrashy support band and then some thrashy dirge playing after that and then Wire coming on and it's like an evening of dirge. So to lighten it up we put something else on that puts the audience in a different space. And it also set us up in a different way. We got to feel differently about what we were doing. It was very effective for that"