"The third choice is a song from Boston, from the band Boston, called "Peace of Mind". And it’s not my all-time favorite song. It’s just one day many years ago, I was in the garage of my apartment, wrenching on my pickup truck, one Sunday night. And there used to be a popular syndicated show, I think it was called Rock Line, and they would get these musicians on and they would talk about their music and their songs. Not too much differently from what we’re doing now. And they had the guy from Boston on, and they said, "What is 'Peace of Mind?' What was that song about?" And the guy said, "I had a good job. I worked for IBM. I had things. You know, I had medical and dental, but I didn’t have peace of mind. I wanted to play music. So I quit my job, and I started this band. And I threw all caution to the wind, and I decided to roll the dice, and give it a try." I was sitting in my garage, when I was like 23, working on my pickup truck thinking, “Do I want to do construction forever? Or maybe I want to give comedy a try.” And it was sort of at that moment, I decided to do comedy. Now, I didn’t make a nickel for the next decade, but at a certain point it worked out."

"It's another strange thing; you had to keep some records as secrets on the punk scene, but John Lydon was into [founding member of Van der Graaf Generator] Peter Hammill. There's an idea that people would hide their Genesis records and get out The Damned ones if people came round. I didn't hide mine, although I didn't play them to Ian when he came round. They're a funny band, Van der Graaf Generator. At the time, with Pawn Hearts, all of your mates would say: "Ooh, there's a track that's three days long… it's pixie stuff". But 'A Plague Of Lighthouse Keepers' is completely overblown, like a nightmare with saxophones. I suppose it's the ultimate prog-rock album: it's really overblown, but still of the terrifying. I really like Peter Hammill. He's another guy who's really unique - he has a really individual way of singing, and it's very raw."

"I love that album because it’s in two parts. The first part is mostly him recording everything himself and doing like a print thing where he’s exploring the studio. He’s a great producer – he did Bat Out Of Hell and loads of other stuff as well – he knows studios and studio techniques and trickery. He’s a multi-instrumentalist, and I always enjoy listening to people who are like that because they often approach their second and third instruments totally differently to an accomplished drummer or bass player. But the second part is with his band, who are also great. It ticks both boxes really! I think of these as classic rock songs even though English people never know who I’m talking about. So I feel like I’m part of some little exclusive club, even though everyone in America knows everything about Todd Rundgren [laughs]."

"I was just thinking last night, after I’d already sent you the list of songs, “Why didn’t I put that Lux Prima record in there?” It’s my favourite of the year so far. The first time I heard this song it knocked the wind out of me. Where did that melody come from? I’d never heard it, and yet it felt like it had existed for all eternity. By the time the track's over, it's already ingrained in you. Something else I love about this album is that it starts with a couple of songs that have you thinking that you know where the record’s going, and then it takes this hard right turn. I love that! Why don’t bands do that more often? You think of Ziggy Stardust as being this big rock record, but you forget that all of the big rock songs are saved for the back half. Side one is all soul and pop. I like that kind of sequencing, where the band is being deliberate, where they know they’re handling a piece of art. I think, with us having just put together Everything Hits at Once, I relate to that more than ever - that sense of wanting the album to gradually take the listener somewhere."

"Another of my favourite bands, and they also went through a key singer change [Bruce Dickinson replaced Paul Di'Anno from this album onwards]. It also features two personal heroes of mine, [guitarists] Dave Murray and Adrian Smith, who go through a change and continue to make great music. I was a fan of Paul Di'Anno too, but that particular record where Bruce comes in, that's another one I'd say is perfect, from top to bottom. There's always that myth... that darker element, I guess, to rock & roll. I don't necessarily see it as dark. I'd say it's more human. In context of a more rigid, uptight society, rock n' roll has always been about pushing the boundaries of ...maybe what's just a little bit more natural to human beings...[laughs] A band I really fucking dug, and emulated quite a bit for a good chunk of time when I was learning how to play guitar. Like I said I was always into dual guitar bands and Maiden were great for that. Bruce actually interviewed us when Black Gives Way To Blue came out. He said one of the greatest things about it, he said: ""Black Gives Way To Blue: Have a listen! If you haven't, you're just stupid!"" [laughs]"

"I wanted to mention this record because it’s almost taken for granted in David Bowie’s canon as just ‘there’s another great Bowie track’, yet it gets overlooked by something like ‘Let’s Dance’ or ‘Heroes.’ “If this came out now I don’t think it’d have any chance on mainstream radio and I think that’s because - and this might be incredibly subjective - he does this amazing thing where he manages to be completely remote whilst leading this band. It’s a really genius performance, the way he pitches his vocal and his persona, it’s cold and remote, but yet really sexy and it’s got no earnestness in it whatsoever. It’s not inciting you to get up and rock like ‘Jailhouse Rock’ or any of the Elvis Presley records, which is someone wanting to dance with you or encouraging you to do that. “To use an obvious comparison about Bowie, this has a really alien position because the voice is so cold, but it’s perfectly Rock and Roll. And it’s really white I think, probably because I can picture him in my mind when it came out and you’d never seen anyone more white, but it’s also as low down and Rock and Roll as any of the blues records that came out. It’s interesting, it’s got that sexuality in it. “I was about ten when it was released and to me and a bunch of kids experiencing it then it was so modern, because of what Bowie’s doing on top of what is essentially a Yardbirds or a Muddy Waters riff and using ‘The Jean Genie’, which back then was such a hip kind of slang. It’s a play on Jean Genet and he’s describing bits he’d picked up from Iggy, but in the early 70s’ everything was ‘Ziggy’, ‘Iggy’, ‘Genie’ and people were called ‘Mick’ and ‘Stevie.’ “There was a very urban, street Rock and Roll that was quite illicit; the threat of drugs, danger, confused sexuality and super-androgyny and the character he’s singing about personifies that in the mind, which leads me to Iggy."

"I got that record from my brother-in-law for Christmas - we have this huge family and so we were picking names from a hat and whoever you got the name of you bought a present for. My brother-in-law was this cool fucking dude who listened to college radio and he got me that first Clash record and I got to see them later that year so I guess it was Christmas 1978. We had the US version, it was just called The Clash with the green cover – you knew that if you were American, 'cos we were like, ""we cant get the real fucking English version"" - I mean they had it on import, but it was so expensive. I don’t know what my musical life would have been like if I didn’t get to see that gig. It was really exotic for that band to come and play Seattle. The whole Seattle community was there and it was probably only 200 people but it felt like everybody in the world was there. I remember there was this wooden barrier and this security guy in front of the pit who didn’t know how to deal with a punk rock audience, and he just decked this kid and broke his nose and The Clash just stopped the gig. And Paul Simonon or someone grabbed an axe and broke down the barrier! And I remember Joe Strummer saying, ""there’s no difference between us and you guys, these barriers and shit are separating us"", and it suddenly dawned on me. They were totally against the whole rock star thing, like there’s not us and there’s you, it was like we were all in this together. I guess I’d be lying if I said in the nineties I didn’t have… not ‘punk rock guilt’ exactly, but there would be a lot of bands that came up, like Soundgarden and Pearl Jam, there were guys who were in the punk rock scene and this was what was next, and as a young dude you feel a little guilty when you’re suddenly selling millions of records. But no-one sold their soul or changed their fucking tune, this was what evolved out of punk rock. Looking back it was a natural progression. Guns was a mix of a lot of different input, punk rock, seventies rock, and it was about doing something different and maybe that’s what punk rock sounded like at that point, I don’t know (laughs). I mean Guns was as DIY as it got, we would hitchhike 1,200 miles to get to a gig but we just went to the next level in getting a major label deal, that was the big change. But I took that ethic with me that Strummer had said. I don’t know any different, I’m honoured to be playing gigs and I’ve always paid tribute to that way of thinking."