"I’d be hard pressed to choose from those early records, but 1999 was a big departure from the first three and that double album was a massive undertaking. Those records where you don’t know how the hell the writer did the thing are the ones that will always have a massive mystique and weight with me. Probably the casual fan of my bass playing or the rhythm section of Guns wouldn’t be able to pick up on it, but me and Steven really worked on this groove by playing along to Prince as well as Sly and the Family Stone. We would sit in the rehearsal room and crank the music on this ghetto blaster and just play along and emulate some of that stuff. It was ‘85 and no-one knew what was going to be next, there was a big question mark. Punk was sort of in its death throes, there was this – if you ask me – really bad metal that didn’t relate to anybody, then the rest of it was up to us, people who were our age 19, 20, 21, whatever and we knew it. So we tried to go a different route and that 1999 record was a big influence on me becoming a bass player."

"Tonto's Expanding Head Band were very early synth adopters. Tonto was an acronym for The Original New Timbral Orchestra which was a reference to what they worked on: the biggest polyphonic analogue synth in the world. Tonto was almost like a cockpit of synths arranged in a horseshoe shape. When they played it, they were inside the machine. Zero Time was hugely influential, most notably on Stevie Wonder who heard it, freaked out and asked them to produce his records. They ended up doing Music Of My Mind, Talking Book, Innervisions and Fulfillingness' First Finale. They also did a load of Isley Brothers records, including 3 + 3. Zero Time borders on New Age in a way. I'd never really heard music like this before – totally instrumental, the whole record composed on synths. I saw them live when they played at the Big Chill festival in 2006. I hadn't known they were playing [a line-up consisting of the band's Malcolm Cecil and his son, DJ Moonpup, with a portable version of Tonto performed]. It was amazing, even if it was a bit odd because they interspersed songs with educational stuff, little bits of interviews with Stevie Wonder and other people they'd worked with. It worked though – what a show!"

"There are certain bands that are hard to talk about, OMD, Simple Minds, where their earlier records were just phenomenal, and later on they made records that were too commercial and not quite as strong as their earlier ones. The first OMD album, Dazzle Ships and Architecture & Morality were flawless. They were beautiful, experimental, inspiring records, then a few years on they were making music for John Hughes movies, and they were good at it and I'm glad that they had success with it, but it wasn't nearly as creatively inspiring as the first three records. Architecture & Morality, I mean it's not hard to overdo the hyperbole, but it's a perfect album, so cohesive, and every song perfectly speaks to the other song, the unapologetic emotional quality of it is really inspiring. Even the artwork by Peter Saville, everything about it is perfectly crafted. One of my very odd musical moments was years ago when I was at South By South West in Austin and OMD were doing a reunion show at a BBQ at three in the afternoon, and they asked me to play bass with them. I found myself playing bass with OMD on 'Enola Gay' at a BBQ at three in the afternoon in Texas. It was one of those moments where you told me that actually I'd just done way too much mescaline and I was currently lying on a bed somewhere and making up the whole thing, I'd believe you. It's a shame that a lot of people came to know of OMD through the last couple of records that were more commercial. It's like Simple Minds, the first five albums are amazing, and then they became a stadium rock band. Now you mention Simple Minds and people think about 'Alive And Kicking' and 'Don't You Forget About Me' which aren't terrible songs, but the earlier stuff was experimental and textural and weird. Maybe someone sees OMD on this list and immediately thinks of a John Hughes movie, maybe they'll be inspired to back and listen to Architecture & Morality."

"‘Wichita Lineman’ was my Mum’s favourite song, she played it all the time. Anytime I hear it now it takes me back to being a kid and reminds me of growing up in Viroqua, Wisconsin. I grew up in a small town and with the sound and production of this song I can visualise the bleak Midwestern cornfields and driving through them. Jimmy Webb wrote it and it’s an iconic, beautiful and incredible song, the lyrics have this bittersweet longing and desire that I think a lot of people can relate to. There’s regret in there, because the protagonist isn’t doing what he wants to do and it’s a perfect pop song in some ways. I was ten years old when my parents first took me to a concert and it was a Glen Campbell show. He was a big TV star with a network television show, it was a big tour and he was incredible. I didn’t know anything about concerts but I remember there were ten thousand people at The Dane County Coliseum, it was a massive show and it was eye-opening. I was probably seven or eight years old when I first heard ‘Wichita Lineman’. My Mum played music in the house all the time and music was part of the background of growing up in our household. She bought Beatles records, The Tijuana Brass, Nat King Cole, Frank Sinatra, musicals like Oklahoma and West Side Story, Polka and Country records. She played everything and I was exposed to all of it, it was good for me growing up to be exposed to a diverse catalogue of music, I’ve never felt elitist about music."

"“For what it’s worth, it’s hard to put my finger on just one record. Diamond Head was such a great band for me. The same goes for a lot of the Mercyful Fate stuff. I remember driving up the highway with Hetfield, listening to Venom and Motörhead all the time. Those were two bands we liked a lot. But if you put a gun to my head, I’d have to pick Led Zeppelin. Presence is the one that came out when I was becoming a fan, because I was too young when the earlier records came out.”"