"This came out when I was 14 and had just started learning how to play guitar, so that’s kind of the album that coincided with me wanting to go into music. No coincidence. The first album I ever bought was Run DMC’s Raising Hell and that had Aerosmith on it, so I was always interested in Aerosmith. I think Pump sounds really special, it’s my favourite Aerosmith album – and I like a lot of Aerosmith. There must be a technical thing about it, because it doesn’t sound like other rock albums. You know how a lot of metal albums have scoops of the lower-middle absent, but there’s a lot of bass and a lot of trebly stuff so it’s like an assault? Well, it seems like the Pump album has got some lower-mid presence, so it sounds like it contains a real drum kit – it sounds like you’re in the room with them. I love the ballad ‘What It Takes’ at the end. It’s just awesome. I loved the way Aerosmith would arrange their albums. You would have about 10 songs and it’s all innuendo and riffs and sex music, and then the last song is the cuddle. I think that’s brilliant. I thought it was timing at first. Kevin Shirley produced Nine Lives for them, and I thought that was a brilliant album too, and I love Permanent Vacation, but I was a bit young for that. I think it’s just a really concise record and even when it has the interval bits between certain songs… you just can’t listen to one track, you have to listen to the whole thing to get the vibe."

"When I was a teenager, I was an avid Smash Hits reader - all through the 80s, that's what I read. So when the Beastie Boys and Run DMC came along, I was all over it. We were nicking VW signs from cars, skateboarding. That was a really big thing for ages. I was into that stuff for a while but the one hip hop album I listened to the most was this one. It's another one that doesn't ever fade. It's got this depth to it, and it's easy. But it's also serious and it's bumping. Obviously there are loads of other really important hip hop albums for me: Notorious B.I.G, Dr Dre, Jay-Z. I get a similar feeling from listening to really good hip hop that I get listening to Nubian music. The whole way of writing with loops really appeals to me. It was weird because I was listening to a lot of this kind of music, and playing and listening to a lot of jazz but they were two separate worlds. I was really into guitar music as well. When I was a kid I was really into Van Halen, heavy metal and all that stuff. Those two worlds never quite joined together. It wasn't until A Tribe Called Quest, and Galliano, Joyful Noise of the Creator. That Tribe Called Quest album, for me, joined those worlds. They mined a lot of old Lou Donaldson records, and other things, but it sounded really current as well. It pulled a lot of things together. And obviously, it branched out to lots of classic 90s hip hop: Guru, Jazzmatazz, Nas. It was a really amazing time."

"This is a period of transition, which all of those early albums were. If you look at Bowie between 1967 and 1970/1 there was no constant in his life, whether he was a mod, whether he was going through his Dylan period with Space Oddity, God knows what The Man Who Sold The World is… it's like a prog heavy metal album really… He was changing the whole time. But if you look at Hunky Dory, I think he just thought that his future was as a songwriter as well as a performer, because I've also heard that The Rise And Fall Of Ziggy Stardust And The Spiders From Mars was his last crack at [becoming famous]. And the amazing thing about this album was two weeks after he finished it he was back in the studio doing Ziggy Stardust. There was a two week gap between the studio visits for those two records and they're so radically different from each other. So I think Bowie just thought, 'Right I'm having one last crack at being a pop star and I've written all these great songs.' And they are great songs on this album, 'Bewlay Brothers', 'Quicksand', 'Life On Mars'… When he wrote this song he'd just put in to write the lyrics for 'My Way' for Frank Sinatra and he got rebuffed and was really pissed off about it. So he wrote that song to say, 'This is what I can do.' And it is a great song: one of the greatest songs ever. I think he wrote it genuinely thinking that one day someone like Frank Sinatra would record a version of it."