Paul Weller

"In my mind it conjures up those crisp autumn days. The first time I ever heard this record wasn't at the time [of release], it was a few years later. They put it out as part of a double album. That was the first time me and my mate [and early Jam member] Steve Brookes heard it. Steve lived near Woking Park and it was autumn time, so I guess that's always been part of it for me in terms of the sensations that it brings up. It's almost like a concept album in sonic terms. Like a suite almost. I went to see them about five or six years ago where they played three nights at Shepherd's Bush Empire - I went to at least two of them - where they played the whole album with the original line-up. That was really special. So many people that I talk to love that record, from all over the world as well. It's amazing that it's taken over 45 years for it to sink in. I like the English melancholic thing to it. It's something that's in the English psyche anyway, innit? Something to do with our appalling weather. It's probably my all-time favourite record. Whenever I've spoken to people who've never heard it I always try and go and buy them a copy."

"For me it could be every Kinks A-side from 1964 to 1969. Just an amazing run of the most fantastic pop songs. Village Green Preservation Society is obviously a great record, but Face To Face has some fabulous songs on it. It's almost a concept record. I don't think there's any lyrical theme to it, but it's very complete, which a lot of their records weren't before. What a writer, I can't say how much influence [Ray Davies] has had on me. The artistry of condensing all those ideas into a little three-minute song is just fantastic. I'm always still knocked out by that. When I was a kid and I first went to America, in the record shops you could buy all these old Kinks records, stuff I'd never seen or even heard of. So I came back with shitloads of Kinks records and that had a definite influence on [third Jam album] All Mod Cons. Those little story songs, vignettes of English life and English characters. That was a massive influence on me."

"I was half tempted to put in all of The Beatles' albums. It's really hard for me to pick one because I fucking love all of them. They mean so much to me. I think Revolver, because it pointed the way forward. It's interesting that 'Tomorrow Never Knows', which still sounds like something that's coming from the future, was the first song that they started work on. They started that in early 1966 or whatever. Pretty far out when you think about it. That song always sounds contemporary to me. That thing with the bass and drums where it's just one groove, like a loop. And all the tape sounds that are coming in and out. It's very advanced for its time. The sound was so different that you knew there was something else going on, that something was changing culturally and musically for people, which of course it did the following year. The Indian influence is there as well. Obviously it's in 'Love You To', the George track, but also the way the guitars are played. You've got a slight drone going on with the guitars."

"He's a great talent, I think, Kevin Parker. I've loved all of his records so far. That whole little scene he's involved in as well, with Melody's Echo Chamber and Pond. You can see where his influences are from but it still sounds contemporary to me. It couldn't be made at any other time"

"I liked [Marc Bolan] at the time and I bought his records probably up until Electric Warrior. I wasn't a massive fan, but I was aware of him and I liked his music. Interestingly enough my very first TV appearance was on Marc Bolan's show, so I actually got to meet him as well. He was very nice but he made me think of one of those old film stars, like Gloria Swanson or something. In his mind he was still a star, and I guess he always would have been. Faded or whatever, but that's just the way he was. He was an original mod as well and in John's Children, which was was quite punky in a way. He's quite underrated. I was checking his guitar playing on Electric Warrior a few months ago and I was like, 'Fucking hell, he's really unique'. You know his sound instantly. It's not anything technical, he's just got a sound. Certainly I've started to appreciate him more in recent times."

"I love Roland Kirk's stuff, it's always got these mad quirky bits in it, a bit like Mingus or like Monk, but very unique to him. It's a really sweet record, really beautiful, and again it has a link to nature and spirituality. It's deep but it has a lot of humour. Charming arrangements and melodies and a real lightness of touch. I love all those things where you hear him growl on the flute or shout or let off one of his conches."

"I could have chosen an Oasis record, but if I'm really honest I think this record and the one before are his best work. I don't want to piss on anyone's parade but I think the songs here are fucking great. It's very clever to be able to write something anthemic. It's not easy and he just seems to roll them out. But I think there's a depth and a maturity to his playing and his songs which comes from age and experience. Obviously I'm biased as he's my mate but I'm impressed by the writing more than anything else. He's hit a great seam and he's up and running and that's great to see. I suppose it's that thing where you don't have to pretend to be democratic anymore, you just please yourself. You don't have to appease the singer or the bass player or whoever it may be. You're free to do whatever you want to do. I'm glad that he's done it."

"I was torn between this and Five Leaves Left, which is more acoustic. But Bryter Layter just has great pop songs. Great playing as well. It's a shame that he never caught people's attention at the time. I think he was disappointed that he didn't get the acclaim. He's such a one-off, just the sound of his voice and the tunes are very unique. Did you ever hear the record that they put out of his mum singing? It was funny. I always think with Nick Drake that it's like, 'Where the fuck did that come from?' It's a little bit folk, but it isn't really folk, there's a bit of Donovan in there, but there isn't really. And then I heard a home recording of his mum singing on the piano and thought, 'Ah, that's it...' It must be something in the genes."