"Of the two bands, I actually preferred Uriah Heep over Deep Purple in their early days. I liked the style and imagery, and of course David Byron was a very charismatic singer. That Roger Dean sleeve made for great packaging, and it had my favourite of their songs, The Wizard."

"Me and Rick were living in a terraced house in Splott in Cardiff, near Tiger Bay. That’s where we formed our first band, Freur. We were making dub electronics and listening to dub reggae and Kraftwerk’s Computer World and Bowie’s Low. What blew us away was Brian’s (Eno) analogue electronic sound – that kind of degraded sound that he was making – and the fact that this great icon, a hugely famous singer and frontman, had chosen not to sing for half an album. What guts and courage that seemed to take. Years later you read that it ended up like that because he wasn’t around and that Brian experimented in his absence. But it takes great foresight and courage for David to come back and hear that and say, "yep, that’s the album." And not to think that because he’s a singer he has to blast away over the top of it. So that became a part of the blueprint for Underworld – that the singer doesn’t have to be the dominant force. He can play a supporting role. That Berlin period – the three Bowie albums and the Iggy Pop record – deepened the mythology of what I love about Berlin. The idea of going to a place and locking yourself away and making quite an extreme record in a different environment"

"It was 1991/2 when the Spin Doctors had their relatively brief moment of huge fame, and their first album went triple platinum. I actually first saw them on The David Letterman Show in the early days of that, and was intrigued by the bouncy, very New York, educated and musicianly sound of the band, who were clearly great players. They were very much a product of that era when very good, very musically aware, very elegant musicians got together to make very direct rock music in a way that sounded so fresh and unlike the other stuff that was going on. They were musos, not a bunch of kids in a garage. They were guys who really knew about time signatures, rhythms and arrangements and had great ability with their instruments. And the singer, Chris Barron, brought a freshness in delivery that worked extremely well on The David Letterman Show and in the few videos they did at the time. I actually went to see them live in the UK and I met them, at the Wolverhampton Civic Hall or somewhere. The guitar player was a very charming guy, a bit of a fan and very pleased I came to the gig and went backstage to say hi, whereas the bass player and drummer gave me the cold shoulder, as if I was from a previous generation, like an earlier episode of Star Trek. For basically a three-piece with a singer they made a very cohesive noise."

"There is certainly a rasp to my voice [LAUGHS]. It's not quite as bad as Bonnie Tyler's but it is raspy. Rod Stewart wasn't a big influence on me as a singer though. I don't really sound like anybody. In the same way that Ozzy doesn't sound like anybody or Alice Cooper doesn't sound like anybody. You get these boyband singers now that are all very similar. Even in the old days, you could swap round some of the Motown singers and you wouldn't really know the difference. Singer wise, I loved Mark Bolan; Noddy Holder; David Bowie; Alex Harvey; Russell Mael; Steve Harley; Brian Ferry; Sammy Hagar; Phil Lynott. All that lot go into a bucket but I still don't sound like any of them [LAUGHS]. Mutt Lange was a huge influence on my singing: he can play anything, do anything. He was pushing and pushing. I remember the first time I ever met Lou Gram from Foreigner. He said: 'tell me, did Mutt make you feel like you couldn't sing either?' and this was fucking Lou Gram, right? He'd make you do it again and again. He would push and push until you'd be right on the edge of losing it. Sometimes that worked and sometimes you felt like your spirit was being destroyed. Physically, you're going into spaces in your head and your chest cavity that you've never been. But he would've done it with anybody: look what he did with Brian Johnson, he put him through the bloody ringer with Back In Black but look what he got out of it. And that's why I don't complain. Rod Stewart was the first album I ever bought with my pocket money. The version of 'I'm Losing You' is just genius but my 'in' to that record, as it were, was 'Maggie May' because it was all over the radio at the time. It was rock but it was pop rock: it's not been influential in terms of how we sound but I absolutely love it."

"This album was a statement – here we are, Deep Purple. I think it changed a lot of musicians and the way they looked at music, in the same way Zeppelin did. But this rang British bells. They had other great albums, but this was the first one I got into – it’s great from beginning to end. Before this line-up, with Ian Gillan, they weren’t so heavy, then they went funky with Glenn Hughes, because he was a big R&B singer, though David Coverdale’s singing was brilliant. Come Taste the Band was when it went truly funky, after Ritchie Blackmore left. We toured with Blackmore in Rainbow a few times – nice guy one minute, then the next he could be odd. Once, someone threw a lighter on stage and he walked off and went back to the hotel. Other times he would play all night. He was very moody. First time we played with them was Donnington but we didn’t have much to do with them. One time we toured with them we did two shows and went down really well and they kicked us off – we turned up at Wembley for the next show and the gates were closed and we were told to go home."

"One of my Mum’s favourite bands is Bread, who I can’t stand, I just don’t like them at all, but as a redeeming feature their singer David Gates wrote and produced ‘My One and Only Jimmy Boy.’ “One of the main types of records I collect are 60s’ girl groups. It’s far from a group of kids in a parent’s garage starting a band, these are more manufactured studio projects, but they do give me a similar feeling. The expression in these songs have influenced me artistically. That romantic sentiment has always interested me, even in the way of how unrealistic it is. That appeals to me in music. “I’ve always connected to girl groups. When I was about eight years old, I found a cassette called Sounds of the 60s Volume 2 under my parents’ stereo. I heard The Ronettes ‘Be My Baby’ for the first time and I almost felt guilty for liking it because I felt like it was ‘girl music’, but there was something about it that I really loved. That sound, it always has such power to me, it really made me feel strong emotions. There’s something about the naivety and the longing and the emotion expressed that I love. “So I got this cassette and at eight years old, at the end of term, we all had to bring in a song that we liked. I brought ‘Be My Baby’ in and I remember this girl laughing at me and saying ‘Faris has brought in a girls’ song!’ “But I still started collecting girl group music. For a genre that only existed for about seven years, from about 1958 to 1965, there were so many records released and so many weird ones – it was a time in the pop charts of total freedom, expression and experimentation. There’s a clash of the pure, almost sickly sweet melodies with some really weird production ideas thrown in. That’s why I loved it."