"This had a profound effect on me when I was really young. I was maybe eleven or twelve years old when I saw The Who play ‘My Generation’ on a TV show called The Smothers Brothers Show. I was sitting with my brother, sister and parents and I just freaked out at how powerful they were. Watching Keith Moon, I just couldn’t understand what he was doing. I’d never seen anyone play like that before, he blew up his bass drum at the end of the performance, it was unbelievable and that’s when I told my parents I wanted to get a drum set. My mum said “Well, if you want to get a drum set you’ll have to take lessons and keep up your piano lessons too.” I promised I’d do both and kept up my piano lessons for about a year, but then I dropped them and focussed on the drums and started trying to figure out how to play Rock and Roll. The Who are in my top five bands of all time, in my home studio in Los Angeles I’ve got photos of them spread throughout the studios and the hallways. They had everything, they looked cool, Pete Townsend was an incredible writer, the way he played the guitar with windmills and swooping arm movements, Roger Daltrey was a great singer and an iconic frontman and John Entwistle’s bass runs held the band together. They had an incredibly unique sound. I still love this song, it’s in my top ten greatest rock songs ever written. It speaks to the essence of the confusion of adolescence and even the confusion of being an adult and what kind of world we live in. It never gets old, it’s a constant recurring theme that every generation of kids grows up with."

"I'm pretty good friends with Egon who was the A&R guy for Stones Throw. Maybe it's no wonder the albums leaked in unfinished form because he'd send me beat tapes that J Dilla and Madlib would make. You'd get his CD with hundreds of tracks from J Dilla - they're all online now - and the same kind of thing for Madlib. You got the sense that those guys were always making beats. And when Donuts got released, it basically had all the best stuff from those beat tapes. But it's amazing to me how coherent they are and how well they work as an album - from what were seemingly unrelated two-minute snippets of instrumental hip-hop loops. It resonates with me as an album. It's turned me on to so much of the music that he sampled. At the time I was really into finding records with drum breaks and records with samples - that's how I made a lot of my music back then, was out of those records. He got me into that Dionne Warwick track 'You're Gonna Need Me' that he samples on Donuts. That's such an amazing track and he turned me on to that. He turned me on to the Eddie Kendricks record, People… Hold On, which is another one of my absolutely favourite records. He got me back into 10cc. It's also that aspect, of being a doorway into other things. We were on tour loads that year and we never, ever listened to music as a band. There was either silence, or people working on their own music on headphones or listening to stuff or doing whatever. But those two records [Donuts and Madvillainy] we could agree upon, and we'd listen to them over and over."