"I loved the film. I'd never seen anything quite like it. And the music was so hypnotic, the way it really builds around one simple melody, just adding and adding and adding. It was the perfect soundtrack to that film. I've listened to the album many times. It's rare that a soundtrack perfectly reflects a film. A Clockwork Orange is another example – it's the perfect complement to what you're watching. It doesn't get in the way, but the film wouldn't have had the impact without it."

"The Band – they happened at a time when I was in my most purpose driven period, which was after I came out of hospital having being cured of tuberculosis. I was looking up everything that was going on and one of the albums I got was this one. It was just amazing how this authentic expression of folk rock or electrified folk complemented unique songwriting. It’s like if you listen to the Dubliners – that’s almost the equivalent of this American style. So yeah, that was big."

"The ultimate film noir that’s not about violent crime, it’s just character assassination at its most brutal. Tony Curtis and Burt Lancaster are beyond iconic in their performances; they become the embodiments of a rancid spirit that can sometimes be found in New York, in show business, in every business everywhere, where money talks and I’ll walk over your body to get some. “I’d hate to take a bite outta you, Sidney—you’re a cookie full of arsenic.” I like to say that to my wife."

"This one is down to my best friend, my dearest friend from when I was three years old – we met at nursery school and we grew up together. We grew through our teens and went through puberty together, starting to experiment with alcohol and cigarettes and boys. She had very lenient parents whereas my parents were really old-school and sort of conventional; she had a very unconventional family life. She and I used to be able to just do whatever we wanted, whenever we wanted, up in her attic bedroom. 

 Because I'd been caught smoking by my parents, I didn't have any pocket money but my best friend Sarah did. She was able to buy records that I couldn't get my hands on – she bought The Scream – I'm not entirely sure why she bought The Scream, but she played it in her bedroom and I can still remember her putting the needle on the vinyl and just that record beginning, starting: I was mesmerised. I just was like, 'What the fuck is this? And who is this? And what is it?' 

 We just became quickly obsessed. We finally saw them on Top Of The Pops and I just fell madly and obsessively in love with Siouxsie and the whole band for that matter: I just loved how they looked like nothing I'd ever laid eyes on before.
 
 Up until that point I'd only been exposed to very conforming women in music. I'd never seen someone who identified as a female but looked somewhat androgynous and referenced Native American Indian culture, which excited me for whatever reason. She had this incredible, strange style that seemed very confrontational and rebellious. She just excited me visually and musically. 

 I've been obsessed with her ever since and my love for her has never waned at all. She's another artist who's never, ever let me down. I still go back to those records over and over again because there's a certain power in Siouxsie's delivery that's very hard to find amongst most female-identifying artists. She still sounds unique, and she still sounds like she can wipe the floor with any of us.
 
 I was starting to experiment with what my version of what adulthood meant and I think I was 13 or 14; I became obsessed with 'Suburban Relapse' and 'Nicotine'. 'Suburban Relapse' had such a strong narrative: I just could see everything in detail through her lyrics. She was very erudite and I was just so mesmerised by her."

"I lived a stone's throw from Penny Lane, and my sister had Beatles wallpaper, my brother had a plastic Beatles wig and Beatles cap, and they were older than me, and my auntie Kathleen - who was a bit of a ... swinging sixties... a Liver bird, put it that way - came to live with us and she brought with her Sgt. Pepper's. She would go and see concerts like Gene Pitney at the Liverpool Empire and things like that. She was quite an interesting woman - to me anyway - and was great fun. I had one of those portable record players like you did in the 1960s, and I would play this over and over again while staring at the Peter Blake/Jann Howarth record sleeve, which made a 3D collage, and asking people ""who's this?"" and ""who is this?"". I've said it before, it was a bit like Dorothy opening the door of the house once it's arrived in Munchkinland, and everything goes technicolour from the black and white-ness of 1960s Liverpool. It was like a portal into things like the Hollywood musicals that I'd been seeing on the Saturday morning at the pictures. My auntie Kath would say, ""Ooh I saw The Beatles in the Liverpool passport office getting a passport while I was getting mine"" and my mum would go, ""I knew Julia when she used to look like Lucille Ball and she used to strut down the street"", and so it was Beatles saturation, living in that particular part of town. 'She's Leaving Home' on that album was the first song that made me cry, which I think is quite an important moment in your life, when a piece of music makes you cry. It was just the sadness of the story of a girl leaving home. Then of course there was 'Lucy In The Sky With Diamonds', 'A Day In The Life' and all those odd string arrangements. There was also the Magical Mystery Tour double EP in gatefold technicolour glory and things like that. It was like an entry into a world that was distant yet very close as well. It made me want to learn the lyrics to sing along and I guess it was just very important to me in my journey of music appreciation. And if you had the measles or chicken pox, you were quarantined to my sister's bedroom, and it was like a TARDIS of 'John Paul George Ringo' and it would drive you absolutely insane, as it was all you could read: 'John Paul George Ringo John Paul George Ringo John Paul George Ringo' and their smiling happy faces. It was kind of great and yet torturous at the same time. Pop torture."

"I discovered this band by reading an article about them in the NME of all places! Sometimes they would review things that were interesting. I bought that record, and then bought all the other records. The thing I loved about Accelerator though, was that it was just so loud, but also full of these pop hooks. It reminded me a bit of There's A Riot Goin' On, being played by a rock band or something! They have big choruses and loads going on in the music and these people trying to making an original-sounding pop record. It's also about pop music as well, and television personalities and film stars. It's a strange record that's interested in the process of making records. They said that they'd made an album that was a tribute to the 60s called Thank You and then one for the 70s called Sweet 16, and then this was their tribute to the 80s. It doesn't really sound like that, but they wanted it to maybe act like a tribute to the excesses of the 80s, and it came out as this like weird, heavily compressed, raw, funk record. I liked it so much that I then got to see them live on that Accelerator tour in Brighton, and it was one of the best shows I've ever seen. It was really interesting watching their dynamic."