"I came across this on the way out to Hoboken to play Maxwell's, and my manager, Geoff Travis, gave it to me as a gift and we put it on the CD player in the van. I was very touched by his gift - he'd thought to give me that record, I was very moved by that. I knew Nina Simone obviously, but I'd never heard her sing like this. It just turned my head - I'm not sure how it's influenced me as a songwriter or as a musician, but again, another album of just classic songs, one after the other, and so much attitude, so much fucking fire. I think, for me, her questions, her lyrics, were just fantastic - from 'Do I Move You?' all the way through. It was a real learning curve of growing up - there's a lot of wisdom in these songs and also a lot of diversity. The music's also pretty hard-hitting: a lot of groove in there, a lot of amazing rhythm. Just an unusual, really surprising record."

"Around this time I started heading out on tour and The Gaslight Anthem really started moving. It was just after The ’59 Sound came out. That was when I started learning about the music industry and how it all works, and how insincere it all is. People pick you up and spit you out. I was taking a drive one day and I heard The Promise by Bruce Springsteen come on the radio. But it wasn’t the album version; it was just him and a piano as it appears on an album called 18 Tracks.” This song opens with the lyrics: ‘Johnny works in a factory / Billy works downtown / Terry works in a rock and roll band / Looking for that million dollar sound.’ Then towards the end of the song he says: ‘The promise was broken, I was far away from home / Sleeping in the back seat of a borrowed car.’ I remember being on tour and sleeping in the back of a car that wasn’t mine, and I heard that line and I was like, ‘I don’t know about this whole thing. I don’t know if this is right. What do I do?’ As Springsteen sings: ‘The promise is broken, you go on living / It steals something from down in your soul.’ That’s when I realised that music wasn’t about the rock star dream. It’s about connecting with people, but that’s not enough for the industry. They see you as a product and they want you to make money, and I understand that, but it’s never enough for them. They’re never satiated and they’re never satisfied. It’s a beast with a belly that will never be filled. “I’d feel a sense of dissatisfaction after every tour and I’d come home and get in my van and just drive. I’d drive around habitually for one hour playing The Promise on repeat, just to clear my head. The song made me feel like I wasn’t alone, like someone understood me. It was a huge, huge song for my development, and it always put me back in a perspective that I wasn’t alone. And even though it’s a depressing song and there’s not a lot of advice in it, it makes sense to me. I still feel good when I listen to that song."

"It's such a tune! That's the main reason it's on this list, I want everyone to listen to it more. I love the vocal delivery – that crooning is my favourite – that really smooth, male, cheesy-sounding vocal: I love it. “I love the sentiment. I don't know exactly what it's about but I'm guessing it's about when you meet someone for the first time and you screw it up and you gotta start again. Or you meet someone and you're too awkward to be cool and you're like ""fuck! I just wish I could meet you all over again and be a cool, normal person.” I love the lyrics ""When I next saw you, my heart reached out for you! My hands stuck like glue to my sides."" It sounds like the feeling you have in a dream where you can't run. It's another one we listen to in the van all the time. It's just such a banger. “We always wanted to do a cover of it but we haven't quite got round to it yet. I really enjoy covers. It's really fun to take someone else's song and rip it up, pull it apart and add new music into it, whole new parts, or take lyrics out and put new lyrics in and just fuck it up. I love playing covers live and surprising people with them, because we can see it in their faces: they know we're playing something they know, but they can't work out where they know it from, because we're playing it so differently. “At the moment we're covering Bonnie Tyler's “Total Eclipse of the Heart” and it's just so bombastic: I didn't wanna totally change it. We used to play a cover of Madonna's “Beautiful Stranger” and that one was really different from the original. If we did ‘Rip It Up’ I'd definitely sing it in that crooning voice, because I love it so much. I'd get Celia to try and play that weird bubbly bass line with some cool pedal."

"Man on Fire, I think what Tony Scott did was ahead of his time, revolutionary. I mean, as far as how he shot it and how he used and maximized his ability to shape a film with sound. He would loop in, like, tiger, animal noises with Lupita Ramos’ scream. He put in a foreshadowing scene, like when we first see Creasy in the cab with the beard, and he flashes to the end when he dies, and then he flashes back to the cab scene, and we didn’t even know. It took me like four times to realize, “Oh, that was at the end!” And just getting introduced to Mexico in that way, how he captured it. How he captured the performances of Christopher Walken and Mr. Washington. It was like an indie film, and then it turned into this beautiful action film in the same movie. To me it was the perfect film. It was the perfect balance of art and commerce. You could sell this thing, but again, like Dances with Wolves, he didn’t compromise anything for the sake of story. Again, how he used language, too., When they’re speaking Spanish, but how he kind of had it where you can read the subtitles — how he did that, and how he mixed sounds and mixed music. I think it’s a perfect film. I love that film. I really do."