"Oasis definitely did change my life when I first heard them! [Bell later played bass and rhythm guitar in Oasis, 1999-2009.] They were like a breath of fresh air. To put it into context, Ride were working on the third album, Carnival Of Light, and we were taking a bit of a break. We were starting to get a bit frayed at the edges and we were starting to pull in different directions musically, too. “We were really shooting for a kind of West Coast Byrdsy California sound mixed with a little bit of Led Zeppelin and a little bit of classic rock. I think we were also subconsciously trying to make a cleaner record, because we’d stopped getting played on the radio… but then along comes Oasis sounding like the Jesus And Mary Chain meets the Sex Pistols and just completely blew everything out of the water! “As we’re talking about guitars, I should just say that I think Noel’s really underrated as a lead guitar player. His playing is like a John Squire-y thing, but there’s a lot more muscle behind it. He kind of trademarked his own style, which has become something that everyone uses now – that massively overdriven sound with quite a lot of delay on it. [His playing] just sounded epic."

"That's a record that Jack [Bevan] from Foals had discovered when we were living in Oxford writing Total Life Forever and there were eight of us in one house: other musicians, no TV, just a record player in the fireplace. The house was falling apart and that record was the soundtrack to that whole period, 2009 to 2011. It was the record I felt envious of not having made. They did something that I felt I was close to being able to make but also superior, and it wasn't what I'd made! I thought: ""Shit, they got there first!"" It's a strange record from a strange group because they seem underappreciated and under-exposed and never really play live. We ended up going to record in Gothenburg and we met Dan Lissvik on this industrial estate in the winter. He talked about how life is a pendulum and he sits above it; he was chain smoking and was a good guy. The record itself though is somebody's idea of West Coast hip-hop filtered through a suburban Swedish kid's imagination. It is at odds with what Gothenburg is like in the winter. The production on it is amazing, with elements of interlocking guitars, but it's freer and maybe it helped us loosen some of the strictness that was in the band at the beginning sonically."

"This might be seen as quite an obvious choice but, for me, this album was a gateway drug. When I was a kid, I remember my older brother and his mates getting really into Forever Changes and thinking, "This is just incredible." From that point onwards, I just wanted to hear more and more of that kind of music. We were all skateboarders in Cardiff back then. People always think of skateboarders being into proper hardcore music. My brother and his mates were into Love and The Doors… some were even into proper sunshine psych. We weren't team sports kind of people – we were the last people picked for football or rugby; a weird sort of outsider gang. Da Capo was a big milestone for me growing up as part of that gang. I loved the fact that Arthur Lee was very West Coast – a smart guy and definitely not a hippy; a freak-flag flier. There was something punk about their attitude. I love the story about him moving into a new neighbourhood in LA, somewhere properly rough. His whole thing was like, "Right. I'm going to let people know I'm here and that I'm the fucking toughest guy in the neighbourhood." He was a hardcore dude. They knew how to make proper aggro psych."

"You can't fail today to be mesmerised by 'Whole Lotta Love'. That was the song that did it for me. A lot of these choices that I've made are either the first or second release from these bands. I always thought that those were great times, because there was never any pressure around artists. You don't have all of the extras that come with being successful. The band is in a very pure place at that point. I always remember playing with them, but it was quite a while after this album came out. We'd just completed a very, very long and gruelling American tour. We were about to fly back to the UK and we had a call from Robert Plant saying, ""I heard you guys are still over in the States, would you like to come and hang out and open for Zeppelin on the Green ['Day On the Green' concert] in Oakland?"" So we got a really cheap, unglamorous motel by the side of the freeway. It was so poor that the walls were basically green, covered with algae. We were there for a week and just waiting and waiting and waiting for the chance to open up for Zeppelin. That was a very important show for Priest, because that was what broke us on the west coast of America."