"I could have chosen I, II, III, IV, Houses Of The Holy or Physical Graffiti. Not totally sure why I chose this one, but it starts with ‘The Song Remains The Same’ and ends with ‘The Ocean’, so it almost doesn’t matter what’s in the middle! With those bookends, it was always going to be a classic. But of course there are things I like in the middle, or else it would be a shit sandwich. Every time I get on guitar I play ‘Over The Hills And Far Away’. I’m not a fan of ‘The Crunge’. ‘Dancing Days’ is like an early version of ‘Kashmir’ and the album’s got some reggae on there. ‘No Quarter’ is a great thing to wake up in the morning to because it sort of builds and builds and builds and then sort of scares you out of bed. And ‘The Ocean’ is what I always play on the drum kit - I think if anything Led Zeppelin is defining what rock drums are supposed to be. And Jimmy is a god – a golden god! And hands down my favourite guitar player of all time. I could just turn off the sound and watch his fingers I’m that obsessed. He never seems to play the same thing twice when you’re looking at live footage. He’s always raucous and doing battle with his guitar, instead of just commanding it. I like to watch people that don’t have amps that do the work for them."

"I heard this on the radio in the States, and I loved the songwriting. He was coming up with something different, it was a soulful folk, so I went and bought the album in LA, I thought “I gotta hear what this guy does” and every bloody track on it is a gem. I’ve always loved the sound of an album, maybe as much as the songs themselves, you know the performance, the sound of it makes a big difference to me. And now you know you can get box sets with alternate takes, and you realise then how long it took them sometimes to get the final take. The first time they did it was good, but then all of a sudden - boom - and there it is. I think there’s a good learning process to listen to the ones they didn’t let go, where the producers said “not yet”, and they persevered until... there it is. When I’ve been in a club sometimes, I’ve gotten up [on stage] and they’ve been like, “Do ‘Delilah’!”, and I’ve said “Let me just do this, which I don’t normally do"". So it is, because when you’ve made big records - great onstage, the way you do your own show - but it’s great to do other stuff when you don’t have to do those things. Not that I don’t like them, you know ‘Delilah’’s a great record, but its nice to do other things. So when you hear someone like Bill Withers doing something like that and being successful, you think, “See, there’s room for that.” There’s room for all different kinds of records. They don’t all have to be the same, or in the same vein, or chasing some things just to get a hit record."

"These were the two albums that introduced me to jazz. I knew bits and bobs but my dad was not really interested in jazz, it was never played in the house. Never heard it much on the radio. Eventually a girlfriend of mine at the time, when I was at Manchester Polytechnic, she played the Art Tatum album because her father had the Art Tatum Group Masterpieces. It's a beautiful album, it's so beautifully recorded, it represents an era before Miles, it's like jazz before Kind of Blue, it has that feeling of being slightly more traditional. But at the same time you can see the seeds of modernity within the recording, the extraordinary dexterity of Art Tatum. And once again, the engineering on these jazz records at that time is quite brilliant. I still listen to this album in its entirety. I love Ben Webster's tone. There's something very sensual about this recording. Just a beautiful thing to listen to. Kind of Blue was next on the list of the albums that I bought. And what I love about Kind Of Blue is the completeness of it. You get such joy; in a way the CD was better, because you didn't have to get up and go over to the deck and turn it over to side two, you just played it all the way through. This has been an influence on me in my attitude towards the band, and being in a band, and having a band, and what I had to face as I went through the Simply Red process. Because I realised that jazz musicians and reggae musicians and soul musicians, they don't have this peculiar . . . and I think part of it's evolved from British music journalism, actually . . . this notion that these guys in the band have to be effectively married, and there's some kind of sin created if one of them leaves or someone else comes in; it's like a national scandal, and everybody's in trauma that somebody leaves. With Miles Davis' career, he cleverly and naturally evolved over a period of years, choosing some of the greatest musicians that ever walked on the face of the earth. That again is one of the great things about Kind Of Blue – the fact you have Cannonball Adderley, Bill Evans and John Coltrane, and Miles Davis on the record, and I think it's Jimmy Cobb on drums, Paul Chambers on bass. When I emerged as the only writer of the songs in Simply Red, it dawned on me and my management that we didn't have to be like the Beatles, and that you could say, “If this isn't working out, find another musician that's got talent, just keep moving.” Because I had that problem: I didn't have my second guy. John had his Paul and Mick had his Keith and Bono had his Edge, and that didn't happen to me, there was nobody else writing. And so when I saw jazz and the fluidity of Miles Davis, I thought, what's wrong with that? If there's nobody else writing, then bring other people in as the thing evolves. One of my great musical memories and moments was being at the Grammy Awards in, I think it was 1987, and I was talking to a very pretty girl backstage, and Miles Davis walked by, and I just froze because I was so thrilled to be in the space of my great hero. Then he stopped, and turned round, and came up to me and went [an excellent impression of Davis's hissing rasp] “Simply Red, right?” And I nodded in silence. You know, I'd been on the dole for four years, I'd just become famous in a matter of months, and there I am at the Grammys and Miles Davis knows who I am. He said, “I love that album, Picture Book, man!” And then just strolled off to the toilets. I was left completely stunned. You know, that, one, he even knew who was – and that he liked my album. It was an incredible thrill. I've never forgotten it."

"Day of Wrath, for me, is another kind of perfection. It’s mature themes for mature people. It’s about inquisition and war, and no wonder why, after doing that movie about inquisition during the invasion of the Nazis in Denmark, then he was recommended to move away from Denmark just to save himself and family. It’s a very cruel movie about a cruel historical time, but in which some people are put in positions that they have to behave cruel against others, and all the characters are changing. It’s very weird. Even the young girl who is very nice at the beginning, then she starts to turn to a witch, and you know that she’s going to die also, but the weak characters are touching. It’s a very complex movie in terms of the multiple faces that every human has in their life. You have the nice face when the situations are nice, and when the situations turn dramatic and there’s no way out, some people just become evil. What I like about Dreyer is he was studying movies about religion but from a very atheist approach. His movies are about the inside of humankind. It’s such a perfect movie. There are some movies that you see and you go, “Oh, I wish the music was different,” or “I wish the actor was funny,” but there are the movies that you watch over and over and see that there’s not one single frame to change. They’re perfect."