"It's like with David Bowie - there was a bit of me that didn't want to include The Smiths because of comparisons, but I couldn't not. The Smiths were a very important band to me when I was 15, 16. It was perfect timing. In the 80s, when The Smiths were still around, I was the right age for what he was singing about to be relevant to me. I was going through adolescence so the resonance was even stronger. So yes, The Queen Is Dead. Did I choose it because it's my favourite Smiths album or because it's recognised as being the best? There's probably a bit of both in there. It's funny actually, looking back on it there are so many great Smiths songs, but there's so much on singles and B-sides that weren't on the albums, which was definitely an influence on how we did things with Suede. I remember when this first came out it was such an exciting thing. I remember hearing 'Bigmouth Strikes Again' on the radio and thinking, 'Wow'. It was a real fan moment. I remember queuing up at Rounder Records in Burgess Hill, and then playing it, and going through the lyrics. 'Cemetry Gates' was the song that I loved the most at the time, back in 1986. I thought the wordplay was amazing. Obviously Morrissey is known as a great lyricist but I think he's probably the greatest lyricist. I don't think Dylan is in the same league, with his songs about the 'Jack of Hearts' and things like that. Some of his lyrics are great, but they're not as powerful as Morrissey's. He had a brilliantly balanced dance between the wit and darkness. It was never too comical; well, apart from 'Frankly, Mr Shankly'. You know what I mean - it was this amazing tightrope walk of being slightly ridiculous but incredibly engaging and incredibly serious. And Johnny Marr's guitar playing is amazing. He's one of the greatest ever. Incredible melodies and the craftsmanship of his guitar playing without it ever sounding boring. It never got into Steve Vai territory. It was always tasteful without ever being dull. In the context of the time when musically everything was so cheap-sounding, The Smiths were making - for want of a better word - really organic-sounding music, but it was still very exciting and strangely quite ground-breaking. They were a really inspiring band for so many people, and for a couple of years they were the greatest, they really were."

"Blank Frank’ is a song that manages to be super-modern and futuristic even though it’s about forty years old now. It’s from Here Come The Warm Jets, which is one of my favourite records of all time and I got into it when I was about fourteen or fifteen. It was very challenging, it was quite arty and some of it’s abrasive, but because I loved Roxy Music I was into investing some time in it and forty odd years later it’s definitely a Desert Island Disc for me. It’s partly because it’s so full of ideas, but also because it could only have come out of the UK. “I think all great art represents its environment; Jasper Johns is an obvious one because he used a flag, but if you look at the Pop Art movement it feels like Manhattan in the 60s’, the LA 60s’ art scene doesn’t look anything like the East Coast art scene. You could say exactly the same thing for Hip Hop, I think anything that’s informed by its environment is interesting and is usually pretty good. “Here Come The Warm Jets would be really quite an interesting record if it came out now, the vocals are very, very British. You know the word ‘arch’? I think arch is something that Americans don’t really do and I’m not saying that with any sense of nationalism, I think that for good and bad arch is a particularly British trait, it’s kind of intellectual, it’s remote and it’s not earnest. People often think that’s a bad thing and that music - and singing in particular - has got to be from the heart, or else it’s not authentic. “The X-Factor and talent shows have done so much damage to singing and the art of songwriting, because the basic premise is the more emotive a thing is the more quality it’s got and that’s complete nonsense. Siouxsie Sioux isn’t about that and ‘Blank Frank’ totally exemplifies it, it’s still a great rocking track but its arch and arty, it’s quite intellectual but it’s still engaging. “One of the reasons I picked a lot of these songs is because they were part of my formative years and a theme running through this is the UK in the 70s’. The idea of it being this sea of beige and brown with terrible haircuts and power cuts was a little part of it, but when you put all these records together, particularly Brian Eno and Roxy Music, it tells a completely different story."

"I could name a whole lot of well-known artists from anywhere in the world who have made great records but maybe it's more interesting if I pick up on things that I've grown up with that, for geographical reasons, aren't known much outside this particular Welsh language culture. These records aren't talked about everyday in the English language. Someone like Geraint Jarman, with Datyblgu, might be the most powerful Welsh language music [of its time]. He is from a generation earlier [to Datyblgu] and started releasing solo albums in the mid-1970s. He was part of the folk movement in the late-1960s and was in a band with Meic Stevens and Heather Jones called Baramenyn. They were making almost pastiche folk music that was critical of folk music but the records were really popular! They were almost like Os Mutantes without the fuzz! Geraint was a poet first and wrote really good poems like Gil Scott-Heron. He had those skills which he applied to rock music in the mid-1970s. He also had an amazing band who could record an album in a couple of days and an amazing guitarist called Tich Gwilym. This album is like a mid-1970s rock album but informed by punk - Television are in there, too - but it's got that grounding in songwriting from the folk days as well. You can get lost in the guitar playing as well and the lyrics are risqué for the community he was singing to at the time - Wales was quite a religious place in a non conformist way. But it's not kitsch music, it's very much engaging with its day and Geraint grew up in urban Cardiff in a Welsh speaking family but with connections to the Romany world. Like a lot of bands from elsewhere in Wales at the time, he was part of a multi-cultural society, a lot of his friends from school were in reggae bands and he gradually got more and more into reggae. You can hear this in this record but it's also a rock record. By the end of the 1980s, he was playing at Reggae Sunsplash so it's interesting...he was still [singing] in the Welsh language! He's still singing and putting records out. He also pioneered a Welsh television show called Fideo 9 which was like Snub TV or something and he put a lot of energy into that. He was also the voice of the cartoon character Super Ted!"