"Most of the albums I’ve chosen are from the 1970s – they are ones that moulded my style. So, Wishbone Ash invented twin harmony guitars in heavy rock [they were also a huge influence on Iron Maiden]. I used to go and see them when they played in Leeds or Sheffield or Barnsley – they were on circuit a lot in the early 70s. I was a bass player then, and they had a great bass player [Martin Turner] with a good style, with really cool vocal harmonies. Argus felt groundbreaking – it was a big explosion of rock and Wishbone Ash were a pretty loud band. It was a good grounding for me to learn their songs - this particular album is a concept album so you learned the whole thing. That’s how songs get into your psyche. In Saxon we used the twin guitar harmonies occasionally – we don’t want to copy anybody, but it is a theme, it is in there."

"We all lived in this house in Los Angeles when we first started the band. It was Shannyn [Sossamon], Emily [Kokal], Theresa [Wayman] and myself. David Orlando, who became our drummer years later, lived in the garage. I’d go over to practise and he’d play me records. I didn’t realise how much I loved Jah Wobble’s bass playing; he’s also on my list of all-time greats. That was over 10 years ago and I’d already developed a style of playing by that point but I’d been told by a few people that I kind of reminded them of him – well, they called me Jen Wobble. I didn’t grow up listening to PiL or anything and wasn’t entirely familiar with his style before we lived in that space. I get the comparison now. When I was in high school I was a fan of the Pistols’ hits, but that was more to do with teenage rebellion. The Pistols were great, but PiL have the edge."

"I only heard this for the first time about six years ago. It was just like this culmination of melody… like the way he… Why do I love it? I don't know. What I love about his music is the playfulness, the way he plays with words, his sense of humour. There's no clear obvious harmony, no clear obvious arrangements. It's very individual: it doesn't sound like a particular style. It has, actually, a little bit of a jazz style, because he was coming out of jazz: that was his love. It's like he's this poet who's finding the music that will fit for each song. It's kind of how I approach my music, too. You're not looking at it like, "This song is going to be this kind of song"; it's more like: "This song is about this and so maybe I'll make these sounds with it." It's a much more playful approach to music. I like that. I identify with that a lot."