"Seventeen Seconds is my favorite Cure album. It wasn’t the first one I heard; I bought Japanese Whispers and then The Head on the Door, both on cassette tape, and used to listen to them while I did my newspaper delivery round at the age of about 15 in Oxford. But then I went back and started getting into the earlier Cure records. With the people I knew, Pornography and Faith were both really big, but I gravitated toward Seventeen Seconds because it was less heavy, more minimal. Like most of their albums, it has its own unique sound. My favorite track off the album is ‘Play for Today,’ and I was absolutely buzzing when we played with them in Greece last week and they played this and ‘A Forest’ together in the setlist."

"I just love this album and I love the history behind it. I don’t think it’s cheesy, I think it’s muso and I really like muso music. The origins of it, the way they found Roberta when she was young and naïve, and they realised that the only way to really capture her was to create an environment that she was used to, so they recorded it all in a church, to give her a sense of the places that she sang in when she was young. And you get that on this album, it’s fucking amazing. There’s some unbelievable songwriting. I might have first heard it when I was really young, there was always this estuary of weird and exciting people coming through this house, playing different music."

"I’d heard rumour of them making this record and the rumour behind it was they were getting all these people – like, "Rob Halford’s on the record, what the fuck?" That record came out and it was such a brave turn. It’s so good, it’s still in my truck that I drive around in, it hasn’t come out of the 6-CD changer since it came out back then. My daughters have learned to love that record, they’re like, "oh, put on the Queens album!" It was another group effort album where I think Josh had a vision and Nick and all those guys were all at their... not zenith, ‘cos Josh has done a bunch of stuff since then that was just as good, but that record did set them apart."

"I like them, because they were just that. Dres [Andre Dres Titus] is actually a friend of mine. I'll call him, I want you to tell him what we're doing... [He makes a call on his phone, but there's no answer]. Anyway, I was a wolf in sheep's clothing; I could just relate to that. They looked so unassuming, but they were the first to represent that you could talk about bitches and ho's - stuff that the other groups didn't. And Dres is one of the most underrated MC's ever. He's great, he can really rap man. For that to be their debut album… I just loved 'Flavor Of The Month'. The album doesn't get the love it deserves at all. Hopefully people can go and check it out for themselves, because it's dope."

"Towards the end of the list I was getting desperate, but Paris 1919 came to me straight away - it's one of my all time favourite albums. It's like the anti-Transformer; I see it as the antithesis of that record, and I definitely have more love for Paris 1919. I think it's the best album John Cale's ever made. It's odd, because it's a poppy record, but even his poppy records have sinister overtones. And I love 'Child's Christmas In Wales'. It's a very Christmassy album. Do I play it a lot at this time of year? I'm forbidden from playing records at home. I put Berlin on at home once, and it just killed the room. I tried to make it better by playing some Motown, but the atmosphere had gone."