"The first time I heard this was in 2012. I remember we were driving down the Great Ocean Road in Australia, the sun was out and hearing this, it was such an amazing song. And subsequently learning what it was about, or so the story goes, I don’t know whether it’s true or not but it’s an affecting story, which is the line ‘I couldn’t say it to your face, but I won’t be around anymore’ is about him either telling a lover or a friend that he’s HIV Positive and that his days are numbered. “Aside from it being an amazing song, I always think as a lyricist you want to be having conversations that you can’t have, that you’re too scared to have. If you’re making yourself uncomfortable then you’re doing something right, because there’s an incredible catharsis that comes with that. It really puts my issues into perspective, it is all relative, but it’s an amazing song and I think to be that honest and to be that authentic is an amazing thing and that’s when I always connect to music, when it’s doing that. “In the last few years Arthur Russell has had a real resurgence and that interest in him has snowballed. He had a million clubby projects and there’s a lot of his stuff that I don’t connect with, but the more direct, vulnerable stuff I really like. There’s the Love Is Overtaking Me compilation, it feels like a ‘Best of"

"Again, I love absolute everything that Ronnie did, from Elf to Sabbath, but it's his voice that drew me to this record because it's so magical and so unique. He was a very accomplished all-round musician though. When you look at his body of work it's just tremendous, but this is certainly one of his best. I love singers that mean what they're singing and have power behind them, and Ronnie meant it. This album is proof that you don't always need to just scream your tits off to make a point. The title track is the standout song on this album for me. If you look at any artist who has had the grace and fortune to be successful for a long period of time there are certain songs that stand out even on greatest hits compilations, but I own a Dio compilation and every song on it is as good as the last. I was involved in a tribute record after Ronnie's death to raise money for his charity. It was a great thing to do, and there were so many talented people involved in it. It just proved that everybody loved Ronnie. Not only did he create some amazing music, but he was a fantastic human being. People were lining up to do that record and by the time I agreed there weren't that many songs left to choose from."

"It's hard to describe the Ledge. He was discovered on The Gong Show many years ago in America. He basically just shouts and screams. He's a cowboy. He was recording in the 1970s but he's still going now. This is his latest compilation. I met him a couple of months ago when I was on my American tour. Bowie's a big fan too. He got the idea for the name Ziggy Stardust from the Ledge and he covered 'I Took a Trip (On a Gemini Spaceship)' on one of his albums [Heathen, 2002]. The Ledge is an extraordinary character. He plays the bugle during some of his tracks. If you ever see him, bring earmuffs. He's not very musical. I used to play his song 'Paralyzed' before my gigs at the Marquee in '77 just to confuse the audience and set the tone for the night. Complete pandemonium. Some of the songs he writes are… [trails off, lost for words] He's obsessed with Nasa and space flights, which I'm into too. I loved the space missions. The visuals and the way they got there. It's science fact. They were like cowboys in space. But The Ledge took it one step further. I'd be quite interested to see what other people think if they check him out. He's not to everybody's taste. The album is an anthology of tracks like 'My Underwear Froze to the Clothesline' and 'Standing in a Trashcan'. It's all good stuff. The names refer to Fergie [Duchess of York], Raquel Welch and Bowie. They're all fans of the Ledge. [laughs]"

"Old Rottenhat is an album that came out in 1985, and Works In Progress is an EP from the same time. They get grouped together on a compilation album called Mid-Eighties. On that album, he's using a lot more synthesiser, and a lot less acoustic and jazz instrumentation. I heard that when I was working at Domino where I used to work a few years ago, and it was just on in the office. I'd heard plenty of other Robert Wyatt but this was the stuff that I liked the most. I liked the combination of his very frail, beautiful voice mixed with properly 80s-sounding synthesisers. I like the claustrophobic sound, and the reverbs, and the synths. They're not nasty-sounding synths. For me, it's just very colourful-sounding music. I got to work with him more recently with Hot Chip, because we were such fans, and it was a real pleasure to be in the studio with him. He gave a lot of himself to the project, and came up with some amazing parts to add to our tracks. He would sing one song of mine, but he wouldn't sing another because he needed them to feel like something he had lived. I have to feel like stuff resonates with me. I liked his honesty, and what he bought to those recordings was amazing. There's a lot to learn from him - he's very political, and I'm not like that at all. And one of the things he was doing when he made Old Rottenhat was creating lyrics that nobody could misunderstand, in terms of political meaning. I was impressed by him not hiding anything, and that's something I like to do with my music in terms of the emotional content."

"It was really difficult to choose a David Bowie album. I didn’t want to put more than one on. For me, it was a choice between this, Low, “Heroes” and …Ziggy Stardust… – all equally magnificent records. This record I like because it was before he became a superstar. There’s a lightness and lack of self-awareness on this record, which I think disappears slightly on the later records. Songs like 'Kooks' have this real sense of fresh openness, which maybe he lost on later records, which I really love. There’s also some pretty odd moments on there as well, like 'Andy Warhol'. I don’t mean so much the ‘sample and hold’ start on the ARP synth – which is really cool – but melodically it’s really odd. It’s more like an Eastern scale than a regular rock & roll scale. It will go from that to something that sounds more like a music hall moment. The songwriting is incredible. I think it’s probably him at his best. Also, when I was going through my choices, I went for records I enjoy from start to finish, even though there’s a couple of songs that I don’t think are spectacular songs on this album, as a whole it’s a really great record. I remember distinctly buying it from the Oxfam shop around the corner from school when I was a kid, and I think it was the first Bowie album I ever owned. My mum had the compilation Changes Bowie which I’ve always loved, so when I saw this I was ""ooh, I like David Bowie, I should try this"". I put it on and thought, ""God, there’s a lot more going on here than just catchy pop songs""."

"I never knew if this was a compilation album or not, but it was the one that was around when I was at school. All of my mates had this record. 'Sunshine Of Your Love' and 'Crossroads' are my two favourite cuts off the album, but the thing was although as a band they were gifted with tons of ability they were also very musical with their recordings. One of the things they got, which I don't think a lot of the other bands did, was that it's great to jam for an hour live, but a record is a repeated instant. When you make an album it's something that people listen to over and over. So I think there were two Creams. There was the one that recorded and did songs that were four minutes long like 'Badge' and things, and then in something like 'Crossroads' they kind of just kept the best bits. I think they got it right. It's very difficult to be inspired and to be inspirational to your other players without it having to be a long-winded routine to get there. And alongside all that was that track 'A Mother Was Washing Her Baby one Night' which was brilliant ['Mother's Lament' from Disraeli Gears]. When I heard that it made it okay to have a sense of humour sometimes and to not take yourself too seriously. For me that last three minutes on the album probably had more of a message than a lot of the rest of it did, because it resonated that yeah, you can do something that's fun. You can do something that's funny, because actually we're pretty good at the rest of it already."