"In those days it was all singles. Bands would put out an album with all the singles on so you’d already heard most of it. But this was the first album with great guitar riffs that repeated themselves – AC/DC and The Kinks are definitely related. It had a great guitar sound for the time: a great riff with a great melody on top is the essence of rock music for me; you can’t get away from it, that distorted guitar with the great riff. They weren’t as bluesy as some of the others – they didn’t go to the 12-bar blues all the time, like some bands did. Ray Davies’ lyrics always appealed to me because they were so straightforward – they were always about life. Probably at the time I didn’t notice, but later everyone looked at his work more as poetry."

"I had a copy of Nevermind on cassette, but In Utero is one of the first records I can remember being released and it meaning something to me. The production is what I loved; it remains one of my favourite records. At this point I was playing in a bedroom band and we were trying to play AC/DC and Iron Maiden and it was really hard; we had neither the skills nor the equipment to play that music. Then In Utero came out and within two days we were covering Rape Me. The guitar on that album sounded like the guitar coming out of our amps, and the drums sounded like the drums that we had. It was hugely empowering for me. It meant that the music I loved was within reach in a way it had never been before. That blew my mind."

"I was about fifteen-years-old and I had just started playing drums and somebody played this album in its entirety on the radio. My Dad had a garden centre at the time and I used to sit in the pickup truck listening to the radio – you know, in its own bizarre way [at that age], you just want to be on your own. So I remember being in that van and the radio DJ saying something about AC/DC and they put it on – I was nailed to my seat. And I'm a drummer, I've always liked rock bands and I've got a mid-life crisis band with some friends – we're called The Luddites. We just play three-piece punk or rock. We murder some of the classics for charity – that's how we get away with it. We go from Sex Pistols to Clash to Foo Fighters to Kings of Leon and so on. Really anthemic songs! Those last two bands have got an odd place in a lot of people's music world – certainly that very guitar heavy rock sound of the Foo Fighters – you would be shocked at some of the people who are into this heavy rock sound. Certain people – a mom with three kids for example – are really into this music! But it's all melodically very strong. Where were we? Oh yes, AC/DC. I made a cassette of this album. I used to drum to this album. Phil Rudd was a monster on the drums. He doesn't do anything – he's the rock Ringo. Whatever he's done needs to be done. People take the piss out of Ringo but everything he did was where it should be. How did I change from being a drummer to a singer? I borrowed a guitar from a guy in the band and fumbled through a few chords and tried to write songs and I became the singer because of that."

"I got into them through this album. The rest of the guys had never heard of them. We went to Sheffield University to see them – I took the band; I said they had to see this great groove – and there were about 100 people in there. It was a very eventful night with punks and rock fans together, because I think UK Subs were supporting. I loved the style they had – the repetitive riffs and rolling bass, which was more bluesy than metal. They were very aggressive – Bon Scott had massive presence on stage and he could sing and wrote great lyrics. And the rest of the band loved them as well, and it really affected us – without AC/DC, we wouldn’t have written ‘Wheels Of Steel’. We toured America with them in 1980, when they were doing Back in Black, on Brian Johnson’s first tour. They were really friendly guys - they had a bar backstage so you could get a pint while they were playing"