"This came out a month after Ride formed. They were such an important band for us. In fact, I’ve just checked and we formed in between the release of the two EP’s You Made Me Realise and Feed Me With Your Kiss, which were both massively influential on Ride. But the album was a step forward even from the EPs. It had a sound all of its own. The touch was lighter, more hip-hop influenced, the arrangements were less like jams and more like studio constructions, the songs were short and concise; there’s just so much going on with this album that shows how they were grasping the moment that they were having as a band. In particular, Colm O Ciosoig really stands out as being really important to the album. His drumming throughout is incredible, and his song, ‘(When You Wake) You’re Still in a Dream,’ is my favorite song on the record."

"It was the mid-'80s, I was in my early teens and Simon & Garfunkel came into play. A lot of the acoustic side to my playing comes from Paul Simon. He’s one of the greatest guitar players that ever lived and he’s done so many seminal guitar parts that I just fucking worship! “I first heard them very early in life because my parents had three Beatles records and Bridge over Troubled Water, but that’s not so much a guitar album. The album that changed my life as a guitar player was Sounds Of Silence, and it sort of opened the door into folk and folk-rock and then Bob Dylan. “Anji, the Davy Graham cover, is one of the first tunes I learned to play on acoustic, and it’s an amazing tune. I challenged myself to learn it and got my head round it. That whole album is full of really, really cool guitar playing"

"To me, this is another mood record. It's more about pieces, pieces of music. I suppose there are some songs there. There are melodies there but it's a bunch of complex pieces. I have a friend who works at a record store and he told me that this album is the most returned album they ever get. I guess people put it on and it's not what they expect from Miles Davis. It's not a bebop record. It's very orchestrated, it's jazz clusters, not rhythm. I hadn't really thought about it but I guess there are a few vibe albums on this list. I love a good album of pop songs but there is something about these ones that you can put on while you're going to sleep, when you're chilling out or after work. It's more about turning off your mind and letting the music wash over you. I like those kinds of records. "

"This is a record that shaped my musical path as a musician for a long time. My hardcore trump card in life is that I saw them in 1998 in front of about 100 people. They were fucking amazing. When I went to that gig I had the record and I was a little bit confused by it. It was a very divisive record in the scene because of the electro elements. Over time I came to adore it. I did once fly to Sweden to buy a Dennis Lyxzén solo album because I couldn’t find it anywhere I can play this entire record in my sleep. Everything I did with Million Dead was informed by this album. I wasn’t really a fan of the new record, but I did once fly to Sweden to buy a Dennis Lyxzén solo album because I couldn’t find it anywhere. The guy in the record store thought I was out of my fucking mind, which arguably I was"

"In my book this isn't a punk record - it's a fantastic rock album. I mean, it's produced by Chris Thomas for goodness sake. Cookie (Paul Cook) is a fantastic drummer: I know him because he plays in Phil Collen's other band, The Manraze Then you have Steve Jones - fucking amazing guitarist. Matlock had gone by this point, I think he was on 'Anarchy…' and Sid was on 'Bodies' but apart from that Jones did all of the guitar and all of the bass parts as well. And he probably did more overdubs on that than we did on bloody Pyromania - it took nine months to record. It's a real album: it represents punk, but in many ways it doesn't. The Pistols record is as planned out as a Genesis album. And that's why it works: it's fucking brilliant. Nobody snarls like Rotten: his 'we mean it, man' on 'God Save the Queen', it puts the hairs on my arm up to this day."

"That album for me was just…It sounds like they’re – instead of using a drum kit on their songs they will just tap a pencil on a desk into a microphone. That album, for me, also is a testament to great song writing, that you don’t need a lot of production. I think that helps me be relaxed about making an album when I started the Drums. I said to myself, “Look, I have no money. I’m riding my bike 6 miles to work to work at a shitty outlet mall only to ride back and make music.” I couldn’t afford to make a record. Knowing that Beat Happening did that with a pencil and a desk for a drum kit…I have this rule, if the song is good just by whistling it, then you don’t really need a bunch of gear and production. People will connect to the melody, and people will connect to the lyrics. So, Beat Happening was big for me."