"This is from Lou Reed’s sixth solo record Coney Island Baby, which was released in 1975. Whenever this song comes on it has this incredible ability to transport me back to a specific car journey; I was nine years old and I was being driven to Heathrow in the back of my Dad's car. “My parents had recently separated, and I was living with my Mum in France. I had to fly back to the UK for hospital operations, which is why Dad was driving me to the airport, to fly home to France. Nine years old is quite young to fly on your own, and I remember it being a traumatic experience to say goodbye to one parent and then fly across what felt like an entire ocean, especially after surgery. “On this occasion my Dad had Lou Reed playing and “Coney Island Baby” came on. I was too young to understand the lyrics, but I felt them. I received the sentiment of the song even in my tiny child mind. It cut through everything in that moment - I can still smell the leather of the car seats, I can still taste the tears rolling down my cheek and still see the tears on my Dad’s face in the rear-view mirror. I actually usually skip this song when it comes on, because it’s almost too much to be transported back into that sort of pain. “As a lyricist, I really scrutinize lyrics and I always try and follow the story when I listen to music. When I fall in love with an artist, I’m always Googling the lyrics and trying to work out the various meanings and duality behind the words. With a song like this, which I discovered when I was so young, the lyrics are almost unimportant. It’s more about the feeling that they convey. “There probably is a narrative there, but when I listen to the song its lost on me. I’m absorbed by the feeling of being in that car."

"When you inevitably are asked about your favourite record, you can scratch your head and go through a list, because your taste changes from year-to-year or through different periods of your life. However, I have always been able to say that Raw Power is my favourite from the moment I first heard it, and I don't think it has been equalled since. A couple of friends recommended it to me. At the age of 14, I was starting to play guitar in a certain way and the name [of Stooges' guitarist] James Williamson kept cropping up. A couple of guys I knew assumed I had been listening to Raw Power because of the way I was playing riffs. So I thought I had better investigate. I knew all about Iggy and The Stooges but I wasn't aware of Raw Power. I got the album in about 1976. I had heard so much about it that eventually I want into town to buy it and I picked up a copy for about three quid, which was all I had. The cover alone made me want to buy the record, and, when I heard it, I realised why my mates had been saying what they had. In particular, the song 'Gimme Danger' started off with a riff that was very much like one I was playing with the band I was in at the time. As a guitarist, James Williamson's playing struck me as having the technique of Jimmy Page but with the irreverence and attitude of Keith Richards. I have since become friends with James and have talked to him about what he was doing back then. He knew exactly what he was doing and it was very deliberate, which is always quite impressive. There is a lot more I could say about Raw Power. It gave me a path to follow as a guitar player. It was an opening into a world of rock & roll, sleaze, sexuality, drugs, violence and danger. That's a hard combination to beat."

"For the rest of these songs we’re closer to now. My Father-in-law introduced me to this, he’s not a musician by trade but he grew up in the hippy era and was really into blues. He has all of these reference points, music that went totally over the head of my generation. The reference points from that period for my generation are a totally different set of people, Jimi Hendrix or music that even my Father-in-law didn’t know at the time, like the Jim Sullivan record that people are digging out as an undiscovered gem. “I would never have discovered Charlie Musselwhite but for my Father-in-law. He was excited that I was a musician and we could hang out and talk about records, sometimes it doesn’t work and his taste will veer in directions that I totally can’t get into, but he’s introduced me to some great music that I love, like Professor Longhair records. ""I heard this in 2009, after Veckatimest and it was really striking because it’s so straight-up and straightforward. It’s the most minimal 6/8 blues tune and it’s very simple, the drums, organ and guitar line don’t change, the harmonica does the melody and a simple solo and that’s it. There’s these beautiful little contained elements, all the sounds are super lush and it’s another kind of subtlety, the attention to tone is so specific. It’s really elegant and hip, but in a totally different realm, a blues perspective from a totally different era, it’s like what Beach House would have been if they were a blues band in 1962. “It’s not trying to do anything revolutionary, it’s just exactly what it is, great playing without trying to be great playing. It’s so personal and visceral and sometimes you really need that sort of music. It’s the simplicity and soulfulness, it’s so minimal and especially going into Shields we started talking about that more and more, having that sense of space"

"[sings] "I got a crush on us!" He's like "vampires came and vampires went, I won't forget this magic feeling", just so geeky, fucking brilliant lyrics, full of cliches, but done in the most hilarious way: "not stupid stuff like your cousin wrote". What the fuck are you talking about? I remember at the time seeing American Splendor, which is this film about Robert Crumb and Harvey Pekar who's this comic book drawer in America, and I was listening to Jad Fair, and there's the whole [adopts nasal American accent] "nerd" thing that's a big part of my teenage music taste. The awkwardness of being in love and the geekiness of American culture. Terrible B-movies with Nicolas Cage, that was a big part of my university life, the trashiness and the shitness. I just really like how he talks about falling in love, the whole album's immersed in Halloween party punch, you're just at this geeky Halloween party he's talking about, and he's like "I love you more than soda pop", "you pop on my tongue and I'm so happy", loads of amazing American cultural references, that as an English kid, it's so cool. You get it. I like the hybrid of Teenage Fanclub and Jad Fair, because I couldn't say I was really into TF, but something happened, I just discovered that album and being in love with someone, my boyfriend at the time, we just loved that album because it's just so happy as well. It's innocent and happy and unashamedly geeky and loved-up. There's so many times you listen to that record and it makes you smile, and there's a lot of darkness and heaviness in my list, so I would recommend that album to anyone. First thing in the morning, summer in your car. It's got a real identity, that record, more than any other, it's a real thing in itself, you totally know what you're going to get and you totally love every moment."