"I heard this record in Minus Zero record shop in Portobello Road - it was an old shop that had been there since the early 70s or early 80s, and it stocked a lot of Bob Dylan, Beatles and The Beach Boys. Kind of power-pop albums. I used to go in there to buy Big Star and Big Star-related records, and it was the best place in the UK where I could do that. I'd gotten all the Big Star that I really needed in my life, but I wanted more Alex Chilton records. I asked the store to play me Like Flies On Sherbert. They put it on after saying it was rubbish, and the first thing I heard was the sound of tape stopping and re-starting; the record is full of lots of those sounds. It's a pretty lo-fi, raggedy-sounding record in terms of the production and the performances. It just sounded really unlike anything else I've ever heard before. Really loose and groovy. It's full of life - like a punk record with soul. You can tell that they were probably very high and drunk while they were making it - mistakes and everything are included in it. That's why I made a second About Group record called Start And Complete with Charles Hayward, Pat Thomas and John Coxon, in one day without anyone knowing the songs before we played them. I wanted to capture spontaneity. The record I made with About Group is much softer than this, as my style is very different, but this album is definitely an inspiration on me."

"Despite the fact I love all sorts of Crimson records, I think this is still my favourite. Maybe just for nostalgia reasons, I listened to this record when I was very young. Before I was into jazz, before I was into weird music, I always loved this. Obviously I grew up with The Beatles and the Stones and Floyd and stuff, but I remember I was in a car and Jimi Hendrix came on the radio. I said 'what is this?' I was only 12, and a guy I was with looked at me like I was insane. In those days gas stations had lots of cassettes so we pulled over and I bought a cassette that had Are You Experienced on side A and Axis: Bold As Love on side B. I listened to it until it was completely worn through. That was my introduction to the 60s stuff that I hadn't been brought up listening to. King Crimson's early stuff was among that new, exciting 60s music that I hadn't heard. Robert Fripp became my guitar hero, he used to do a League of Crafty Guitarists thing in New York so I saw him play. I became a Fripp head, I saw them play in the 90s with my English teacher. It blew my mind, but they didn't play the old stuff. I'm not musiciany enough to like that stuff, but the early stuff resonates a lot."

"Say what you will, nobody is trying to show off here, it's just solid songwriting. The great thing about almost every song on that record is that you can pick up an acoustic guitar and just play it and sing along. Joe [Elliott] singing the melody, he doesn't sing the highest and his voice doesn't rip up the most, it just sticks to the melody. It's great rock sensibility. The melodies aren't too bluesy, it's just a really solid record, and ten million other people must have thought so too because they bought it. But the interesting thing for me about that record is how honest it sounds, yet how unlike rock bands it was recorded. We took Def Leppard out with us and they told us the story of how their producer Mutt Lange would get them in the studio and the record was totally fabrication, by that I mean they would put down the drum track, then the computers would move the drum track so it really felt in time. Then he would ask Phil or someone to play one note - so instead of chords they'd be doing one note at a time. Then the chords would come from different tracks so you could control it, one note at a time. That record took two years. I've never heard of anybody doing that before or since. You can argue that it makes it sound different or better, but then there are great punk bands that go and bang things out in a day. There are no rules! Led Zeppelin I was recorded in 18 hours. The Beatles' first two records were done in 24 hours. But you can't argue with Mutt Lange's success."

"This is Aaron Bruno’s solo proect. I put this on the list because I’ve been listening to it recently. I tend to find an album that is eclectic enough to keep me interested and I listen to it over and over again, obsessing over it… and then I stop. And I just stopped with this! Ha ha! Well, I’ll probably give it a bit of space and then come back to it. I try and listen to new music as much as I can, but that’s probably the first genuinely eclectic new album that I’ve enjoyed in years. The story goes that somebody in Texas played one of the album tracks and it’s caught on and everybody’s playing it now on their radio stations. And it’s become a sort of mega hit. To me there is some stuff on it that sounds like the Pixies and some stuff that sounds like The Beatles, but it’s all slightly electronic and his voice is great. There’s loads of obviously ad-libbed stuff that they’ve kept in and it’s very cool. Rough round the edges in the right way. It’s not guitar heavy, but there is some really great live drumming happening in it. I think he’s a surfing man who’s influenced by hardcore and stuff like that, but some of it’s very poppy. I think it’s just a guy who is not afraid to explore songs and take them where they feel like they should go, rather than worry about what it’s supposed to sound like. It’s the best new album I’ve heard in years."

"I’m thinking a lot about both of my parents during this. They were both very ill with Coronavirus, and my dad recently passed away. My parents weren’t really into music, except that everyone bought LPs then because, well, you just did. There was nothing unusual about their taste; The Beatles, Sky and Elkie Brooks for my Dad; Cliff for my mum. A few years back, they wanted to be rid of their records; they had no use for them. “Don't you want them replaced? Get them on CD?” “No, we don't need them.” So now I’m the custodian of all these records. There is nothing wrong with Cliff Richard. Well, he’s a Tory, but apart from that, I will fight you. I’m Nearly Famous kicks off what I like to call ‘The Magnificent Seven’ series of albums that ends with Now You See Me, Now You Don’t. Together these behemoths of art redefine the parameters of music and leave a wake of destruction in their path. He can sing in tune AND in time. He is brilliant. There is something so welcoming about the sound of these records. It’s a period of high-end ‘fabuloso’ production, where everything is exquisite and perfectly placed. These albums sound like Patrick Bateman’s apartment in American Psycho. This album includes ‘Miss You Nights’. There are better songs, but humans haven't heard them."