"If this list was only five albums long, this would definitely be on there. It's so incomparably good. I think spiritual jazz coming out of America in the late 60s and early 70s is my favourite music in the world. It has everything - big melodies, big production ideas, a heavy kind of rhythm, a really wide palette of sound, so you get that kaleidoscopic playground kind of feel because the texture is so dense and interesting… I guess it's funny how much it shouldn't connect with me because I'm an atheist, but so much of the music on this list is explicitly spiritual music. There was a Brian Eno Red Bull lecture, and Kieran was there and he asked him this very question: ""Why is it that so much of my favourite music is spiritual music?"" and Brian Eno's answer was pretty good. It's about that sense of release, disposing of your ego, and opening yourself up to be more receptive to different musical ideas. I don't mean that you're receiving some kind of spiritual energy - at least that's not my take on it - I just mean you push aside considerations of ego and being cool, maybe that's what it is. This record just seems elemental. It seems to have come from somewhere deep down and really says something about being human. Music means so much to me, it's so central to my life, and the music of Pharoah Sanders is so committed to the potential of music - what music can do, what it can say and how it can communicate with people. It's in no way cynical. It's inevitably going to resonate with me, because I believe in music so much."

"What killer pop songs, just killer fucking pop songs. It’s all over the place and I remember looking at it as a kid, just looking at the cover, it’s like a cartoon and at third grade I would play that record again and again. 'Lovely Rita' is probably my favourite song. I remember I had a crush on this girl and at that age you don’t know what girls are about and this song had something to do with my crush on this girl. I don’t know how, but it did, so it brings back memories of a more innocent time in my life for sure. It’s so ingenious and a pure band effort where all the band were listening to each other. I know from reading about that record later that there were a lot of battles but I think the band were at its zenith in terms of allowing each other’s input. Guns was also a band where everybody respected everybody else’s musical opinion - Appetite was a record that was a serious group effort. We didn’t have any away to record ourselves, we didn’t even have a PA, Axl would be singing lyrics into one of our ears while we were playing really loudly in this little room, so the only time we got to hear these songs properly was when we played live –in front of three people sometimes - 'cos there were monitors on stage. Then you’d realise that songs like 'Rocket Queen' were way too long and be shaving them. By Illusion we had a big rehearsal place with a PA and could record ourselves on cassette and hear what we were doing. And we had time, and if you don’t let time get away from you time can be a really great thing if you know how to manage it."

"Sam Cooke’s voice on this song is just absolutely... It guts you, it's so emotional. It was written around the time of the civil rights movement, really addressing the struggle and trying to maintain hope throughout that struggle and to push through and to persevere. “""A Change Is Gonna Come"" is something that I sang years ago in this thing called The Zodiac Show in L.A. It was the first time that I was stepping out of the world of musical theatre, singing how I wanted to sing and dressing how I wanted to dress and expressing myself. “The song took on a slightly new meaning for me because I’d been struggling within the theatre world, believe it or not, for sort of being perceived as 'too gay' for a lot of these roles and the things that I was auditioning for. It became a bit frustrating and I thought “Well, fuck, I thought I was in theatre, all the weirdos are in theatre and we're supposed to support each other.” I didn't feel that sense of community as much as I wanted to. “I also ended up signing it on American Idol and it kind of came back around as a full circle thing. Funnily enough, I sang it in the finale and didn't win. Many would say “Oh, maybe that's because of how they perceived you to be.” It was this repeated concept for me, both times. “My interpretation of the song was my personal change, that things were going to get better and things were going to become different hopefully, and that I was going to not give up, and strive towards that. This song has that personal meaning to me."

"Head is my favorite film that stars a musical artist, by some degree. And yes, that includes the brilliant A Hard Day’s Night. However, the Monkees’ triumph of a movie is a Pyrrhic victory, because Head accelerated their demise, as it sees Dolenz, Nesmith, Tork, and Jones push the self-destruct button. Directed by Bob Rafelson and cowritten by Jack Nicholson, the movie shows the Monkees tearing down their wholesome network-TV, pre–Fab Four image with wild style. Much has been read into this stream-of-consciousness movie, with its overlapping dream sequences, surreal song numbers, and drug-influenced chaos. The simplest way of describing it is this: the Monkees are sick of being on their network show and attempt to break out of the studio lot, literally and figuratively. There are several scenes where the Monkees are trapped in a box, a live number where they are revealed to be plastic mannequins, and bookending sequences where the members commit suicide. So basically, the Monkees want out. There have been some claims by the Monkees since the film came out that this message was projected onto it by Rafelson and Nicholson, but the script was clearly born of a very real frustration with their image. The movie bombed in 1968, because not many Monkees fans wanted to know that their idols had painted-on smiles. What remains is a gem of rock music cinema, with great songs and images throughout. Plus, as depressing as the theme of entrapment is, it’s frequently very funny. I got to interview Dolenz about it at a New Beverly Q&A once. A young audience member quizzed him on the deeper themes, and he just replied, “Man, I was twenty-three . . .”"

"This was a song that I'd hear on the radio quite a bit when I was growing up. It wasn't a current song, but it was one of those that had legs, and they just kept on playing it. ""The reason it was on my mind is because I pulled it apart the other day. I do that when I'm trying to get into work mode. I might have been hanging with friends, or dealing with business or talking to my mom, so when I want to switch over to the kind of mindset where I need to be receptive to musical ideas, it sometimes helps me to just play a song that I really love - not one of my own - and pick at it. What are the chords doing here? I'm asking that kind of question. ""I heard the Fugees version - which is what brought it to mind - but the Flack one is my favourite. To get to that place in my head when I'm working, I need to do something physical, like sing and strum the guitar on a track that's not mine and just figure out what makes it tick. So in terms of 'Killing Me Softly', there's this cool trick - this cycle of fifths - where you play a chord, and then go a fifth up, and then another fifth up, and it sounds as if it's going down at the same time. You don't hear that very often, but it's on songs like 'Goodbye Yellow Brick Road' and 'You Never Give Me Your Money'. ""At first glance, you might say this is a sad song, because of the tone and approach, but it's not. It's just somewhere to go if you're looking for an emotional experience, because it's pure soul"

"It's a brilliant album. What's not to like? It's universally loved and accepted as an album, as a collection of music. When you're a kid you listen to Beastie Boys because you like to sing '(You Gotta) Fight For Your Right (To Party)' because it's silly and fun but Paul's Boutique is sophisticated and mature, as well as being really musical, which I really like about it. And long before I had any awareness of what sampling was, all the different bits that they use I was always curious about what they were. I always knew they were from other songs, because some of them I recognised. But it was super fascinating to me. I was already in love with New York and the idea of moving to New York. And in my adolescent fantasy I thought: ""I'm going to graduate high school, I'm going to move out of the house, I'm going to move straight to New York, and then maybe, one day, I'll get to meet one of the Beastie Boys."" And now I've met all of them! James [Murphy] is really good friends with Ad-Rock and he'd be at the studio with us and I'd go there and be with Adam, and eat pizza with Adam. It was so bizarre because 15-year-old me was losing her mind but I had to be cool. But also it was totally normal because he's just a normal guy and he's hanging out with my friend who's just a normal guy and they're doing normal stuff. But no matter how many times I meet them or see them I've never stopped being star-struck. I have to stop myself falling apart."

"I never knew if this was a compilation album or not, but it was the one that was around when I was at school. All of my mates had this record. 'Sunshine Of Your Love' and 'Crossroads' are my two favourite cuts off the album, but the thing was although as a band they were gifted with tons of ability they were also very musical with their recordings. One of the things they got, which I don't think a lot of the other bands did, was that it's great to jam for an hour live, but a record is a repeated instant. When you make an album it's something that people listen to over and over. So I think there were two Creams. There was the one that recorded and did songs that were four minutes long like 'Badge' and things, and then in something like 'Crossroads' they kind of just kept the best bits. I think they got it right. It's very difficult to be inspired and to be inspirational to your other players without it having to be a long-winded routine to get there. And alongside all that was that track 'A Mother Was Washing Her Baby one Night' which was brilliant ['Mother's Lament' from Disraeli Gears]. When I heard that it made it okay to have a sense of humour sometimes and to not take yourself too seriously. For me that last three minutes on the album probably had more of a message than a lot of the rest of it did, because it resonated that yeah, you can do something that's fun. You can do something that's funny, because actually we're pretty good at the rest of it already."