"One of the bands that I watched in a backyard party that made me decide I wanted to be a musician had played the song '2112'. I heard that weird pedal effect at the beginning and thought, ""Are you kidding me?!"" That was the opening of a whole new world. I lost track of them after Permanent Waves when I started doing my own thing, but you can't ignore their legacy. Alex Lifeson is another with a really bizarre approach to guitar playing. It sometimes seems that his solos don't have a direction because they are like spurts of energy, almost like solar bursts. It's all so progressive to the point that when they do a comparatively straightforward song, it almost seems like they are dumbing things down – something like 'Working Man' for example, which is a simple rock track. But generally they are progressive rock at its very best and bands like Dream Theater owe a lot to them. Although Megadeth has progressive elements, I'm not a huge fan of pure prog as such. I respect the players because they are so talented, but to me it might feel like you're in a straitjacket. Incidentally, people have referred to Rust In Peace as being a progressive record, but in truth it was just where we were at the time. In fact I always saw it as a thrashy little metal record, as opposed to sounding like early Genesis or King Crimson where you dropped acid and went, ""Whoa dude…"" Not that I've ever done that, I should add…"

"Cartola is a salty, classic samba character from Rio who I don’t think a lot of people outside of Brazil really know about. I only found out about him through someone I know who married a Brazilian woman and he got super-deep into Samba and its history. “Brazilian music has always been a part of what Grizzly Bear do, especially Tropicalia records, Marcos Valle and Gilberto Gil. All of that stuff has been part of our vocabulary since our early years and in the last couple of years after Shields, I started discovering and getting into straight-up Samba. It isn’t trying to be psychedelic, blast anything open or trying to be crazy, it hits you right in the heart and does exactly what it’s supposed to do. “It’s not trying to blow your mind or anything, it’s just doing what people do in a Samba and it communicates so much. I know a little Portuguese, I don’t speak it well enough to know exactly what he’s saying but you can still feel the vibe and emotion of the song without knowing the words. There’s something so great about music that’s so straight-up in its own vernacular, that’s is exactly what this is and it’s just killing it. “‘Preciso Me Encontrar’ is my favourite track on the record and it’s such a good example of what that music does so well, it’s really honest, as honest as you could possibly be, there’s absolutely zero pretention going on and it’s played beautifully."

"This film takes place in Dijon, France, in the mid-’50s. It is a coming-of-age film about a boy in his early teens named Laurent Chevalier, who is from a bourgeois family. He has two older brothers who are always teasing him and who introduce him to a prostitute for his first sexual experience. Laurent has a beautiful mother and a successful father who is a gynecologist. After getting scarlet fever and discovering he has a heart murmur, Laurent must stay in bed for several months to recover. When he is better, he travels with his mother to a very fancy resort (sanatorium) in France. The second and third acts of the film are about his coming-of-age experiences at the sanatorium with the other young people who are staying there. It is also about him developing a strong personal relationship with his mother. This film is so daring and touches on many taboo issues—it’s astonishing that it could be made then (1971) and even now it would be considered to be pushing too many boundaries. In the end, it’s a beautiful, deep love story between adolescent children growing up in a privileged life, and about the closest relationship between a mother and son. I wish more films today could push boundaries like Louis Malle did in Murmur of the Heart. This film reassured me how important it is to push boundaries and to pursue issues that are considered by some to be untouchable. It is a truly inspirational film."

"Phil Lynott. Genius. And a bass player as well. Have you noticed that most of the music normally comes from guitarists? But he was the driving force in this band. He was a skinny black guy, who was writing great songs and dealing with the consequences of racism in the UK at that time. He was always the main attraction to me. A real rock star and you'd feel that whenever he walked into a room. You can instantly recognise Phil's voice, and he had a really cool way of creating melody on songs like 'Jailbreak'. This album is distinctly Irish, and I'm not sure why I think that to be honest but it definitely makes it special. At the time they were about as unique as they could be. And it was quite successful in the charts, which, along with seeing bands like them on Top Of The Pops, was another important factor. After Phil died and Thin Lizzy came back a few years ago we took them out on tour but that's partly because the songs have held together so well even to this day. It was a real joy to do that and to be able to hear those songs played every night, and played so well. And to be honest I think that's enough, because the songs are really what matter. They're still playing together, but I think they're called Black Star Riders now. The last record was very good, but nothing compared to this."

"We'd finished recording the Ziggy Stardust album at that time and it went into the record company. They said: 'We can't release this. It doesn't have a single on it!' I think it was more of a thing to have a single to promote an album in those days – maybe it still is, but it's not as significant as it was then. So, we came out of the studio and in about a month he had written 'Starman' and we were back in the studio by January. It was an obvious single! I think Mick and I went out in the car after David played it for us the first time, and we were already singing it, having only heard it only once. At the time, we thought it might be a bit too poppy, a bit too commercial. It might seem strange, but we just hadn't done anything that commercial before. I always thought Bowie had that ability, that any time he felt like it, he could write a hit single. He just had that about him. I think he chose not to right through his career. If he felt like it, he would write one, and if he didn't, he wouldn't. That was just the impression of working with him. It's not a fluke to be able to write all those amazing tunes. Like with 'Starman', he didn't try a few out, he just went bang, 'Alright, I'll write one'. But if it wasn't for that song, the whole thing might not have taken off. It pulled it all together."