"Of all the people who were a direct influence on Oasis, the line goes back to the Sex Pistols, whether that’s Joy Division/New Order, The Smiths, The Stone Roses or Factory Records, and if they hadn’t played those two gigs in Manchester who knows what would have happened? And on that album you’ve got Lydon or Johnny Rotten with that voice going on about the Royal Family and boredom and the rest while you’ve got Steve Jones just hammering it out like a pub rocker or like someone who’s into Slade or The Small Faces rather than punk rock, and between those two things you’ve got it. Every time I listen to it I think that if it came out tomorrow it would fit right in, it wouldn’t feel dated. Way back at the start of Oasis we did a radio session for Mark Radcliffe and during ‘Cigarettes and Alcohol’ Liam out of nowhere sang ‘Sunshi-i-ine’, you know, with about ten extra syllables and when it went out on the radio I remember thinking, ‘Fuck me, that sounds great.’ And when we came to record I was like, ‘Sing it like you did on Radcliffe again, like Lydon.’ It was his idea, I just pushed him toward it."

"The next one would be La Haine, Mathieu Kassovitz’s movie. I remember seeing that for the first time and being absolutely blown away by it. Not just on a technical level, but I’m always a fan of debut films that don’t just announce a director talent, but when the director talent is so confident and so self-assured that it feels like it’s their 10th or 15th movie already. That film just screamed that. It was filled with so many ideas and so much rage and anger. Again, it was an important movie, and I might be misremembering something now, but I’m pretty sure that the effect of the film was such that the president of France at the time forced his members of Parliament to go watch the film in order to understand the plight that people were living in the projects of France, of Paris, at the time. I’m sure I remember reading something like that. [Editor’s note: It was then Prime Minister Alain Juppé, who held a mandatory screening for his cabinet members.] It was such a powerful film and such a powerful story that’s told so unflinchingly. That film has always stuck with me and has been something I’ve owned in every possible format I could own it in. That’s definitely high on the list."

"Schindler’s List. I remember, again, I was under age. It was all experiences I wasn’t really allowed to be having, you know. So, I went to watch Schindler’s List. My dad was like, “OK, we’re taking you to the movies. You have to watch this movie. It’s an important film to see.” The cinema was packed out, and I was probably about 12 or 13, and it was just incredibly moving and overwhelming for a 13-year-old to watch, and the visuals of the girl in red in this black-and-white world, things like that. It’s just really ingrained in me. I remember the experience of going to watch that with everyone, and being moved."

"Black Like Me, but I felt a way, because as I'm reading I realized it's about a white man dressed in black face in the '60s to see what it feels like to be black. It's cool to see these detailed experiences of how white people treated him, but at the same time, he was able to just go back to his regular white life. But we deal with this shit everyday. We can't just wipe our color off — which is great, I love my color, but it definitely made me feel a way. I'm still glad I saw the perversion that was happening with the treatment of black people, so for that reason, I appreciate the book."

"Back in the day when Star Trak was taking over the music scene, everything they put out was so radical. All their beats were just insane. I remember first buying this and I thought I was buying a Neptunes album and it was something completely different, like live music. At first I was like, ‘This is so wack.’ After spinning it and spinning it, it soon became one of my favorite CDs. It’s a CD that I probably know the most lyrics to because I just listen to it so much. Pharrell is another dude who still sounds good no matter what he does. He’s for-real radical, he needs to keep grinding hard because we miss that guy.”"

"As a drummer, Klaus Dinger was important to me: [he taught me] how to make one riff last a lifetime! It's a great riff though, don't get me wrong. Neu! was absolutely brilliant; it's another record where the first time you buy it and put it on, you think 'I've never heard anything like this before'. I was into Krautrock and that's why I bought it - I bought anything that came out of Germany - but Neu! were just completely out there. I had no idea who was in the band, there was just a big 'Neu!' image on the front… it was striking, kind of punk. The way that they used cut up music, and bits of ambient sound… as soon as I heard it, I thought 'If I ever start a band, I'd like them to sound a bit like this - as adventurous as this'. A lot of Krautrock was trying to plough its own furrow, but there were other bits that were trying to Germanize Western things. And the odd thing about it is, I never knew that Michael Rother lived in Wilmslow for a time - which is just around the corner from me - in the 70's. I was watching a Krautrock documentary and he was saying: “I've always been surrounded by flowing water, there's always been a river - the Rhine, the Elbe, the Bollin.” And I said: “Hang on, did he just say the Bollin!? That's just down the road!”"