"I remember when I first heard Fear Of A Black Planet it was, again, one of those moments when you thought ‘this is something’. It was still at the relatively early stages of rap, but Chuck D was really onto something. The sound of the tracks – the rhythm units they were using with those tiny percussion sounds – was unlike anything I’d heard. That’s why I chose it. Jay-Z has made some great records, as has Dr. Dre but Fear Of A Black Planet changed things. We covered ‘911 Is A Joke’, which we got an enormous amount of flak for. Middle class white boys covering Public Enemy – what were they thinking? I can tell you the irony wasn’t lost on us. In fact, Flavor Flav loved our version, which was a huge thrill. Public Enemy were pioneers who went out on a limb and started something which has become the biggest paradigm shift in music that we have had in the last 25 years. You look at some of those songs and think about how many samples they contain – the list is enormous. But that sampling technology is something we’ve all used since. Public Enemy were inventors, as were others with the albums I’ve chosen. They moved music to a new place and that’s what turns me on."

"When I was a teenager, I was an avid Smash Hits reader - all through the 80s, that's what I read. So when the Beastie Boys and Run DMC came along, I was all over it. We were nicking VW signs from cars, skateboarding. That was a really big thing for ages. I was into that stuff for a while but the one hip hop album I listened to the most was this one. It's another one that doesn't ever fade. It's got this depth to it, and it's easy. But it's also serious and it's bumping. Obviously there are loads of other really important hip hop albums for me: Notorious B.I.G, Dr Dre, Jay-Z. I get a similar feeling from listening to really good hip hop that I get listening to Nubian music. The whole way of writing with loops really appeals to me. It was weird because I was listening to a lot of this kind of music, and playing and listening to a lot of jazz but they were two separate worlds. I was really into guitar music as well. When I was a kid I was really into Van Halen, heavy metal and all that stuff. Those two worlds never quite joined together. It wasn't until A Tribe Called Quest, and Galliano, Joyful Noise of the Creator. That Tribe Called Quest album, for me, joined those worlds. They mined a lot of old Lou Donaldson records, and other things, but it sounded really current as well. It pulled a lot of things together. And obviously, it branched out to lots of classic 90s hip hop: Guru, Jazzmatazz, Nas. It was a really amazing time."