"The ‘60s was such a powerful decade for music, but in the ‘70s it suddenly felt really old to me. If you’d have asked me about The Beach Boys and The Beatles at that point, I’d have called it a load of old tosh. I was looking for my thing and the new thing, and Bowie led me into The Velvet Underground, which led me into glam rock and the New York punk scene. I remember first seeing ‘Starman’ on Top Of The Pops and I’d never seen anyone who looked like David Bowie did - it was all sparkly and mad hair, but the song sounded amazing. The message of there being something out there for you really hit home with a lot of people who were my age, and it came at a time when everyone was searching for something that our generation could call music. Bowie had his moments as an artist, didn’t he? It’s a controversial thing to say, but I think Ziggy Stardust and Hunky Dory were the only great albums he did really. He had fantastic tracks from other albums - I love “Heroes” and I love “Ashes To Ashes”, they’re brilliant songs - but in terms of albums, it’s Ziggy Stardust and Hunky Dory that mean a lot to me.”"

"Like I mentioned I love the desert. I have a video somewhere of my wife and I listening to this record driving in Joshua Tree. It really does sound like how it looks. To be honest, I knew of the soundtrack long before I saw the film. And that's how it is for me with a lot of Morricone scores. I went through a deep Morricone phase in my twenties, and just any soundtrack he ever did I bought. The movie's already there – you can see it. And I bet he would agree too – a lot of his music is far more cinematic than the films he's actually scored. He has this intense visual element to his music which is always exciting to hear. So that record in particular, I remember I first heard it in my twenties and it really blew my mind. The production – the fact that it is so produced – sure it's a recording from the 60s or something. But it is a studio album. So you hear him getting really great sounding recordings in some old-school microphone (old-school now). Really getting such a rich, beautiful sound. And then you get that fuzz effect, which is just quintessential Morricone sound, probably because of this record."