"I grew up with Kimya and watching her come into her own and write songs was inspiring. We would write songs together originally, then at some point she got a guitar and started writing songs herself. She borrowed my tape recorder and never gave it back! She took it into her room and started to make this record. I knew that she was amazing and a great lyricist because we wrote songs together, but I was shocked by how good this album was. My mind was blown by it. The lyrics are so good and so personal. When she made that record she made up her own genre of Kimya's of an incredible playful, introspective, symbolic, metaphysical diary of herself. It's part nursery rhyme, part fable, part confessional. She continues to explore that more and more. I have no idea how to describe this record properly, but it's coming from a very pure place. It's not so much this record has all her best songs, it was hard to pick just one of her solo albums, but this is the beginning of her journey. She offers you so much access to who she is on this record. The way Kimya rhymes is so clever, I just don't know anyone who can touch her."

"The second side of this record has three songs that I think are some of the greatest sung by anyone. 'On The Beach', 'Motion Pictures' and 'Ambulance Blues'. They are my favourite Neil Young songs, and they are very introspective and miserable, but they have something about them that makes me want to return to them again and again. I don't find them self-indulgent or too bleak to listen to. It's a deep record and I get a huge amount from listening to it. There's something about Neil Young, he can just do so many different styles, but I guess he's most well known for the After The Goldrush or Harvest records. This is darker, but there's more to get lost in, for me. It sounds a bit all over the place. The first side of it, the tracks are produced by different people over different sessions. Neil Young was making an album like that around this time where he was cobbling them together; he'd make an album then decide not to put it out, and then he'd take tracks from one and then put them on another. Despite those different sounds, it works as a whole record. Neil Young was the first songwriter whose songs I learned to play on the guitar."

"The first Damned record is a classic. These were some of our influences and bands that never really got a wider appeal and should have. Rat Scabies was on that record and was like a rebirth of Keith Moon, Brian James’ guitar playing was second to none, suddenly punk rock had our own Eddie Van Halen - sort of [laughs]. Just a shredder. Then there was Captain Sensible and Dave Vanian... everyone was a unique character, not just personally but as a player. I don’t think anybody could have beaten the Damned at that point in their carer. It was short-lived but maybe it was too ferocious to last with that line-up. After we did that record I was playing a gig in ‘94 with Steve Jones, we were playing the Viper Room every Monday night as the Neurotic Outsiders and Rat Scabies came to one of the gigs. Steve introduced us and Rat said, ""thanks for covering that song, I got the biggest publishing cheque I ever got"". But I didn’t know what to say, I was terrified of The Damned man, these are my heroes. I mean it was Rat Scabies, what the hell do you say to Rat Scabies?"

"Beans On Toast is a guy called Jay and he used to run a pub in North London called Nambucca. When I was playing [gigs] in North London, I started hanging out there. Jay had this tiny little guitar and knew basically three chords, and he used to write these fun little songs about stuff that happened to us the weekend before. This was happening during the point in my life when my writing was deliberately complex and I was trying to be obtuse and challenging and all these kinds of things, so to hear that kind of simplicity both lyrically and musically was so inspirational to me. And it was so direct that it felt kind of punk in a roundabout way. I’d spent years writing these obscurantist lyrics and suddenly, here was a guy writing songs about us and our adventures and our thoughts and feelings and foibles and all the rest of it. It just knocked me sideways. When my old band Million Dead broke up, Jay was the leading light for me in terms of what I was going to do next—quite a lot of my early songs sound quite a lot like Jay, for good reason."

"I grew up hearing the original Carter Family recording, my Father had it on an album compilation of their recordings. I grew up hearing that from my earliest memories and then he would play the song and sing it, sometimes on the guitar. He even wrote some other lyrics for it once for a family reunion to sing about the different branches of the family. Now, whenever I have the chance to I join in with a bluegrass jam session, which always ends every one of their jams. with playing and singing ‘Can The Circle Be Unbroken’ and even ending with everyone singing a capella, which is really a fun experience. I’ve always loved the song from when I was a little child and I still sing it and play it. It’s the only thing that would be on the list that I would ever sing and play, or at least regularly sing and play, so it’s part of my life. I really like the sentiment of it, especially the chorus. My father isn’t around anymore; he would play and sing it and my older brothers and sisters would play and sing it, so I grew up with that in the family, which is enormous for me. I feel like I’m a continuation of that."

"Ah that's the one, unfortunately, Lou Reed hated. He couldn't stand it... but I liked it! There's such a variety of songs on it. There's one song on there - [line cuts out; we reconnect] - I told you Lou Reed hated that album! That song 'Who Loves The Sun', how good is that?! The breakdown on it, it's like a hoedown. They called it an album, but this is just an art project! A lost memo for an album... Let's come up with 16 ideas and just whittle it down. 'I Found A Reason', that song, the melody [imitates it] that was just amazing. 'Rock & Roll', I first heard that in my father's car. He had a Monte Carlo, and I thought that was cool. It came on the radio and I was like, "What is this?!" It was so simple and it was talking about a radio station in New York - and I was in New York, that was where I heard it - and I just loved the rhythm guitar and also the soaring chorus, where it's just like three notes and it kind of soars around. And that became an influence on our song called 'Ed Is Dead' - another homage!"

"I first came across Donna about four months ago through this live session I found online. It’s just her, a guitar player and a drummer and it just fucking went off in my mind when I saw it. It’s been a while since I’d heard a voice that made me think ""Fuck me..."" and there's something about the way she performs that you can't help but be enamoured by. “She’s absolutely wild. I went hunting through her live sessions because I couldn't believe how good it was, but she's note perfect every time. Her album This Time came out last year and all the songs are incredible. There's another song of hers called ‘Jupiter’ that's almost got a Drive soundtrack vibe to it. “You can't take your eyes off her when she performs because she's overflowing with passion. She's got a voice that’s like being punched in the face in the best possible way, it's so powerful and it knocks you back. The whole album is incredible but ‘Keep Lying’ just does something to me. She’s one of the best voices around at the moment, 100 per cent. There's something to be said about a song that hits so hard every time you listen to it."

"""I bought the first Buzzcocks album on the day it came out. I still have it in its plastic carrier bag. I knew it was going to be good as the Buzzcocks were already great. There was an excitement about being a youngster and liking the Buzzcocks at that time. Again, they were from my town and it was unheard of at that time for a band from Manchester to get the kind of commercial attention the Buzzcocks were attracting. They were on Top Of The Pops and were influencing other bands from around the country. And they sounded like they were from Manchester too. They were clever lyrically and clever musically. Buzzcocks made modern guitar music that was appropriately punky but sounded razor-sharp on the radio in the middle of such a load of mainstream nonsense, which was a great source of pride for many Mancunians. That, coupled with the aesthetic of the band and the way they did their sleeve artwork and the way they dressed, was a very potent combination. Buzzcocks influenced The Smiths massively in the way we approached our record sleeves and our choice of independent record company - because of the Buzzcocks we took on a Mancunian DIY ethic, whilst being in the charts."""

"Now, some people give you shit for picking a best of over a studio album but The Who are totally one of those bands. I do not dig any of their albums. The only album that isn’t a hits collection that I can sit through from start to finish is Live At Leeds. On their studio albums there is always some half-arsed concept hung on a few good tunes. But, The Ultimate Collection is… fucking hell. If you’re of a certain age and you play guitar based music, they’re up there with the Beatles to me. You just have to look at the singles, ‘My Generation’, ‘The Kids Are Alright’ all the way through to ‘Pinball Wizard’ and even ‘You Better You Bet’ is fucking good. The thing about best-ofs is right from the time when I was a teenager right up until the point I actually earned some proper money, all I could afford was best-ofs. I’m not interested in David Bowie’s albums, do you know what I mean? Give me ChangesOneBowie and ChangesTwoBowie. When you can only afford to buy one album a fortnight or whatever it’s too much of a gamble to buy an actual album. Give me a best of. It’s the best… of… that person!"

"I was obsessed with them when I was in The Edmund Fitzgerald, so much so that I'd try to get on every bill with them. They were the most incredible live band I'd ever seen and I couldn't for the life of me figure out why they didn't change the generation in Britain. They definitely changed a lot of things for me. When that record came out, not only did I love the sound of it but also that it kind of made it feel possible to make a record and put it out. What's becoming clear to me as I go through this list is that there's something to do with people's voices that connect directly. All of Charlottefield were incredible musicians but there was something so animalistic about Thomas [House]'s scream - both live and the way they captured it on the first record. It's just so raw, there's something about his scream in particular - I could never quite grasp what he was singing about or what he was singing, but there was something searing about that scream that made me wanna play guitar obsessively and play shows and get on bills with them and made me wanna lose myself in music even further than I had done at that point."