"Like I said, all this industrial stuff was part of what I was listening to before the age of 20. I was buying anything that I hadn't heard yet. I don't even know where i got the money to do this, but I did it. I would just buy it. If something, like this record, looked interesting to me, I’d just get it there and then. I had like three-hundred metal albums and once I remember trading them all in in one fell swoop. I traded 300 in and got 150 random records back, and this and Dome were in there."

"“For what it’s worth, it’s hard to put my finger on just one record. Diamond Head was such a great band for me. The same goes for a lot of the Mercyful Fate stuff. I remember driving up the highway with Hetfield, listening to Venom and Motörhead all the time. Those were two bands we liked a lot. But if you put a gun to my head, I’d have to pick Led Zeppelin. Presence is the one that came out when I was becoming a fan, because I was too young when the earlier records came out.”"

"The album cover was worth the price of the purchase on its own. It was a highly influential record for me. I can remember being at a still life class in art school [Hornsey College of Art] listening to this. I learned every lyric on it. ‘In Every Dream Home A Heartache' is Ferry at his best. They were really hitting their stride here. Their attention to detail on the artwork was amazing. As I said, the album covers were as exciting as the records. To this day, there's a bar set when it comes to presentation, and Ferry set it."

"I've been listening to her for years, but I just watched a documentary about her – so much raw emotion! And free of so many complications that music has sometimes. The music is just very direct, simple and strong, free of filigree. She's direct to the heart. Her intimate collaboration with Portugal's poets is admirable. She definitely stuck by her rifles. And it's good to know that she was part of making the fado style. I first came across it, I would guess, 15 years ago. It has the same rawness as flamenco but it's less flamboyant, and more stern and stark somehow."

"This film made me cry real tears! It’s about the 1976 Soweto Uprising and the injustice experienced by many Black people due to corrupt police and the flawed South African governmental system. I think it’s worth listening to Miriam Makeba and Hugh Masekela whilst looking at the momentous history of apartheid, and the fact many writers and musicians had to go to into exile in fear of prosecution. Also, in Come Back, Africa (1959) by Lionel Rogosin​, Makeba makes a cameo and sings two songs in a bar. One I cherish a lot is a lullaby called “Lakutshon, Ilanga”."