"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."

"This is a very personal selection. I was 13 years old and was falling into bad musical company - Red Hot Chili Peppers, Limp Bizkit and all the music that the hot boys at school were into - and coming home and threatening to get a Chili Pepper tattoo. I think my father had had enough and told me to listen to an album as he thought I might like it. He needed to pull something out of the bag and steer me onto a good path. My dad loved Pavement. It was the first time I had heard music that I felt was mine. I didn't know anything about the band – whether they were dead or alive. It didn't matter that it was music that my friends weren't listening too – it eclipsed all of that. I just remember being really struck by how the songs would trickle in all these different kinds of directions and would have all of these weird guitar solos. They weren't as formulaic as the guitar songs I was used to from all of the terrible music I was listening to at school. I became absolutely fascinated with Pavement and I didn't care that no one at school had heard of them. It was the beginning of having the courage to say, "This is the music I like and I don't care if anyone puts it down.""

"Probably one of the first bands that I learned how to play was Led Zeppelin. As I got more and more into them, Jimmy Page increasingly became a hero of my mine to the point that he's by far my biggest hero. If you listened to those records, and you were able to isolate all the guitar tracks, you'd probably say, "Wow, this track sounds awful. Wow, that track sounds awful too." Not the performance, but the tone of it. But he was such a master at what he did, they were able to blend those things and give it such a unique sound. Simple, simple things like the sound of a Fender Rhodes in 'Misty Mountain Hop' – the way that they worked all those things together. When you think Fender Rhodes, for me at least, you don't think heavy rock. You think Hall & Oates. But Led Zeppelin IV was one of those records that completely blew my paradigm apart regarding what rock music could be. And then from that point I went backwards in their catalogue. To this day Robert [Plant] and Jimmy are the consummate pair of frontman/guitar hero. My playing style is probably more similar to Jimmy's than anyone else's. I was influenced by people like Michael Schenker and Uli Jon Roth but Uli was always a bit too exotic. Jimmy is at the absolute top."

"I remember hearing 'Requiem' on college radio, and it really combined all of my favourite things - it had synths on it, really heavy distorted guitars, tribal drums, this crazy jazz drummer and punk rock vocals. The first album is great, but What's This For is one of those rare albums where the second is actually better. I remember when it came out I went to the record store the week of release, though I couldn't afford to buy it, and looking at the cover and how beautiful it was. It was this collage, with these psychedelic, apocalyptic colours, and the title is one of those great titles where it meant nothing but it was captivating. What are they asking, I don't understand. Standing in the record store, holding this piece of vinyl, hoping that one day I'd be able to buy it... when I finally got it home, the sound quality was even better than the first album, and it just had this sinewy darkness to it that was really amazing. Everything about them from the basslines to the drumming to the way they approach guitar and lyrics... it was the first time I'd ever heard really heavy distorted guitar that the way they were mixed they didn't dominate the music, the fit perfectly within the framework of the song."