"Electric Ladyland actually would be a welcome album if it was a brand new band today. It still holds up. It was actually a pivotal record in the sense that you had a guitar player, perhaps the pre-eminent one of them all, who actually took chances in terms of songwriting. He also experimented with electronics, backing tapes and all that stuff. The reason that I know all of this is because the engineer and producer on that was a guy called Eddie Kramer who engineered some of the earlier Kiss records, and he would tell us stories and everything. A double album, it had lots of great guests on it like Dave Mason from Traffic and many others. 'Crosstown Traffic' is great, very unlike Jimi Hendrix. Noel Redding, the bass player actually auditioned as a guitar player and Hendrix told him, 'I'm actually looking for a bass player', so he had to switch over to bass right on the spot, which is why his bass playing, with a pick, is not the way that most bass players play. I was still in school when I heard it, I must have been 17 or so because I remember drawing the Jimi Hendrix Experience, the name and all that, on the cover of my notebook. In those days we used to buy albums sometimes just because of the album covers. There was an art to it, there were big hardcover books talking about the art and design of album covers and there were artists and companies like Hipgnosis and places like that which specialised in just creating album covers. For instance, on Love Gun we had a painter named Ken Kelly who painted the piece, and it was a lot of time and effort. It was an art, and sadly that's gone. Now the visuals are down to the size of a postage stamp, you don't get much. I didn't actually buy this one because of the cover. I'd bought Axis: Bold As Love because of the cover."

"This was the basis for the baseline in Sleaford Mods, fucking great stuff. Stuff like 'The Lurch'. They did a cover of the Gun Club's 'Sex Beat', that's great. Most of Weatherall's work is bass heavy, it's solo stuff. Wrong Meeting, the album that came after this, that's bass-led. There's a rockabilly feel to it. But with From The Double Gone Chapel it's 80s synths, bass, car alarms. The inner sleeve, which is just a coffee stain and a packet of Marlboro Lights next to it, that really influenced me. Same with Mike Skinner's sleeve where he's just sat in his flat with a pint, it's just fucking brilliant. That's how it is, he's not pretending to be anything. Those things merge, all of it is a big melting pot. I think I've hit it good with the albums that I have chosen for you as far as my contribution to Sleaford Mods. I mean, Andrew, whatever he makes, I go with. Initially, when we started doing Wank, the album before Austerity Dogs, I would have said to Andrew that I want a big heavy bass and I want a dusty Wu Tang thing. He took that on board and made it his own, then he would bring these slices of music to me and I thought the sound wasn't something I'd really go for, but it was quite good. I don't tell him anything any more, he just gets on with it. This the band I've been trying so hard to get into. I think we've been very lucky, regardless of the hard work and the shit me and Andrew went through, it was luck as well. I feel quite grateful that it happened to us."

"I was only ten when it came out, but I knew there and then that this was the best music ever, that album. Obviously, child of the seventies, I had grown up on quite luridly sentimental and cheesy music [laughs]! Because you didn't really see punk on the television or hear it on the radio, I never really noticed it, but I did hear how it affected pop music, which is new wave, synth-pop, Elvis Costello and Blondie and stuff like that. In amongst all that, you had Gary Numan and The Human League. It was a breath of fresh air, definitely. I can see myself in my dressing gown watching Top Of The Pops. Obviously, 'Don't You Want Me', which they casually put at the end of the record, is one of the ultimate pop hits of that era and it seemed to be number one for just ages, which was fine by me, because I loved the video as well. Also one of my favourite records, I couldn't put it in this list because it's just a single, is 'Pop Music' by M, which kind of sums up that era for me completely. That's a great record, but he never made a decent album! Dare is, of all the albums on the list, it's probably the most complete - there's not a bad tune on it. They're just at the absolute pinnacle of their powers. It's not just about great pop music, because they were quite experimental still. It's not so much crazy experimental sounds, but it's really, really hard-edged and it doesn't let you off the hook. Nothing has really got a lot of reverb or delay on it, it's very, very clean. Some of the sounds go right through your head, piercing."