"I guess I probably knew Dylan before I knew about The Band and kind of found The Band through Dylan. But I like the way that all of them sing. The three of them in particular, they've got really great, really characterful voices. And they do that thing of switching voices so you get the first verse with Rick Danko and then the bridge will be Robbie Robertson and that changes the perspective and stuff. And that's something that when Gang Of Four started, by the time we got to Entertainment!, one of the things we wanted was different characters. I kind of saw songs sometimes as being a little play, a little drama, so you have different characters. You have the main protagonist and maybe the other voice would be making comments about that character or somebody else would be a different character. To a certain extent, some of that came from The Band, I think. They're a weird bunch, they came from Canada, ended up in America and they kind of drew parallels between themselves and North American history and the way a lot of Canadians ended up in New Orleans and they called them Acadian driftwood. And they kind of sing about aspects of the Civil War and stuff like that. And also they've got a sense of history. It's very much not standard rock & roll subject matter, you know. It's not cars, girls, guitars, and I love that. And they're emotionally touching. They didn't have easy lives, things didn't pan out brilliantly. I'm touched by the way that you can hear their struggles through life in their music and what they're saying."

"This was the first Ramones song I heard. I was nineteen or twenty years old and I’d read about them in New Yorker Magazine and alternative music magazines like Village Voice and Trouser Press. They were getting all this press but they weren’t getting any radio play in Wisconsin, so you had to wait until it came into the record store to hear it and I was smitten the first time I heard ‘Blitzkrieg Bop.’ I bought their record and it just floored me in its simplicity, two minutes or a minute and thirty renditions of songs that were verse, chorus, verse, chorus, chorus, end of song. The songs were super precise and cut down to the bare bone, they were pop songs and had a very crude simplicity to the recordings. I think I went through three vinyl copies of their first record. I’d get up in the morning and play it twice before I’d go to the university and then I’d come back at night and just blast it non-stop. We’d have these punk rock party nights just listening to The Ramones album and ‘Blitzkrieg Bop’ always set the tone for me, it’s an incredible song. We’d bring all our friends over, get kegs of beer, clear all the furniture out of our living room and jump up and down and slam-dance. The first Ramones record is the greatest punk rock record of all time, it inspired The Sex Pistols, it inspired everybody. A thousand punk rock bands were formed after they saw The Ramones, they were the first true originals to do that and I’m still a huge Ramones fan."

"The next one is a little-known obscure album called Hunky Dory! I grew up listening to David Bowie's songs in the background. I knew he existed and knew his hits and whatnot. I had the same thing with The Beatles. When I was 17 I saw that my dad had Hunky Dory and I realised that I had never really actually listened properly to David Bowie. I thought of him as a pop star – which he is – but he's obviously a lot more than that. I remember putting it on and listening to it in the lounge and actually thinking it was almost too much – it was a collection of songs that were all so good that it was too much to digest. It absolutely blew my mind at how mercurial he was on one record. He wasn't writing songs just about love, but about all these crazy, bizarre ideas. It contained really weirdly strange anthems that weren't like anything I'd heard. I remember really trying to piece together who David Bowie was in his entirety, as opposed to him just being that guy who dresses up like a woman sometimes and was a pop star, and beginning to understand the gravity of how talented he was. I remember listening to the song 'Andy Warhol' over and over and over again and thinking it was the best song I had ever heard in my life and then trying to learn it on guitar. So, it was the moment of realising, ""Oh my god, David Bowie!"" but there is no real point in me explaining why it is such a good album. It's obvious."

"I wanted to pick the Pistols or the first Clash record, because they did mean a lot to me, but I’ve had to go with Obsession by UFO, because they were such a huge influence. Def Leppard were on a boating holiday on the Norfolk Broads, and we happened to read a local paper which said that UFO were playing the Ipswich Gaumont, which was a taxi and a bus ride away from where we were parking the boat. We’d yet to play a gig when we saw UFO, and they opened up with three brand new songs, which was very brave: Hot And Ready, Cherry, and (I think) Only You Can Rock Me. And then they went on to do more familiar material, and we were just gobsmacked. The dynamic on stage between Pete Way’s lunacy and Phil Mogg’s attention-grabbing stance in the middle, and then the mad German on the right with his bucket boots and Flying V. It was insanely brilliant. Steve Clarke turned around to me and said, “Right. That’s it. I’m leaving if we don’t start playing shows.” Because all we’d done was rehearse for nine months to try and become relatively good at what we did. That show — and that album — were a massive influence on us, because we were listening to the album all the way through the boating holiday. UFO were and still remain a major influence on us for all sorts of reasons. They were very British, and they had a sense of humour So with the greatest of respect to Never Mind The Bollocks and the first Clash album, I’m going with that one."

"I would say my number one movie: Purple Rain. I could probably teach a semester of film studies on the first eight minutes of Purple Rain. And if you watch that first eight minutes, you’re going to see why, because the way the music — it’s like the extended version of “Let’s Go Crazy” — the way it’s cut, continuity completely goes out the window. You’ll be on stage with Prince, but then you’ll cut and you’ll see him getting ready to go on stage, then you’ll see him at his house, blowing out candles. Then you see him on his motorcycle coming to the club, cuts to him on stage in the club, cuts to Apollonia coming into town… By the end of that eight minutes, you know everybody’s character, you know their relationship to each other, and the music never stopped. It’s a dizzying… I think you see three tongues within the first eight minutes. You know, Apollonia’s boobs were like an atom bomb going off in my world, because up until that moment, I wanted to marry women, like, “I like that girl. I would want her to be my wife and have kids with her.” But then I saw Apollonia, and I was like, “I have thoughts now in my head that I didn’t have before, and feelings that I’ve never had before!” The same poster that I got at a fair in Vallejo, California of Apollonia in a bikini is up on my wall here in my office, and people still come in here and go, “Damn, I had that poster on my wall!”"