"This was the mid-’80s, around the time PiL made Album. On that record, I was referring to the heavy metal scene, which had crawled up its own backside. It was endless bands imitating each other, the same nonsense that punk turned into. But great achievements were made in music around then too. Everything from madder folk outfits and pop music itself was becoming very interesting then. I was always pleasantly surprised that oddball stuff would creep in the charts from nowhere. Someone like Gary Numan gave pop music a very distinctive and clear tone that was all his own. “At this stage, I would have been buying everything that was being made, but Alice Cooper’s Killer never left me. That easy way of growling he had was always impressive."

"First is Say Anything…. In terms of protagonists it doesn’t get any better than Lloyd Dobler, and John Cusack is kind of like the Holy Grail in terms of awesome ’80s protagonists that are kind of lost and don’t know what they want to do. That great speech where he says “I don’t wanna sell anything… bought, sold or processed” or whatever — you know that scene? — it’s just kind of a genius way of describing what a character’s going through. Quite frankly my character in this movie is going through a very similar thing: clearly a smart guy, probably kind of paralyzed in life because he’s done it to himself. He’s kind of over-thinking everything, so the only thing he can think of is to do nothing and work at Sun Coast video."

" The ten-year, ten-album career of Felt divides neatly in halves: with rococo lead guitarist Maurice Deebank and without. This is his last album with the band, and the first with equally hyperactive organist Martin Duffy (probably not a coincidence). The effect is like Yes if Steve Howe and Rick Wakeman just kept soloing, under and over the vocals and each other. And, the album is produced by Cocteau Twin Robin Guthrie, who flanges almost everything, hard, almost all the time. The centerpiece is the inscrutable and euphoric 'Primitive Painters'; on it there are two lead vocals (generally undecipherable), an ever-soloing guitarist, a usually soloing organist, all swimming in flangers, and then the bassist starts soloing too, and it's probably the best pop single of the 80s."

"When I was a little older I came across Spacemen 3. It was a time of my life that feels quite vivid now – before Supergrass and even before [pre-’Grass outfit] The Jennifers, so I was about 12 maybe. It’s that time when you’re crossing over from cheesy chart stuff: I think I’d bought a Huey Lewis & The News single just a few years before because of Back To The Future and my brother had Rock Me Amadeus by Falco; that end of the 80s when things were pretty ropey. So Playing With Fire was a huge album for me. It was very intense and drawn-out, there were no three-minute pop songs, and it didn’t play by the rules. I just thought, and still do think, it was such a cool record."

"This Is Spinal Tap. Let’s put that one on there. This list is gonna get really long in a minute. I mean, I love all of Christopher Guest’s movies, but I’ll put that one up there. I could easily say Best in Show as well. I don’t know, there’s just something about the Britishness of the rock and roll, which has always made me laugh, in a way. It seems to say a lot about the age that I grew up in and just before I came along. At the age I first saw it, I was very right for watching a satire about the ’70s and ’80s and a culture that had just come before, I guess. The performances are so delightful. I also really like Waiting for Guffman. God, he’s wonderful director."