"That was a really good band for me growing up. Lots of my friends were into really heavy bands like Korn and Limp Bizkit. And I always used to find a lack of melody and musicality to those bands; they seemed all about aggression and there were no tunes to sing, and the lyrics were usually shit as well. And Deftones were really melodic, and that's rare. They would play in such an aggressive way and yet they had this mode that they always wrote in, so their songs always have a certain sadness to them no matter what they were doing. This record has this incredible sadness and extra power you could never get, no matter how loud you play it. The harmony has such a nostalgic wistfulness. The older you get, the more you get into the feeling and the emotion of it, whereas when you're young it's all about the excitement. The album hit the perfect sweet spot for me, where it gave me all the aggression I wanted from Nirvana, but these guys are extra heavy and they have this amazing sadness. I used to play the drums and would play exactly the sort of things Deftones were doing. I also think Chino Moreno's singing style, high and forceful, along with Thom Yorke, is where my voice comes from. I always try to emulate them. Moreno could sing hard but he could sing a melody that was high and above the dirge below, sailing out above the chaos below it"

"My fondness for the western has probably got to be included in here, but it can’t be something like Hombre, which is kind of silly. You know, I’d probably go Magnificent Seven, truthfully, if I’m going five, because seeing Charles Bronson, seeing Steve McQueen come into his own and just sit there and steal focus is kind of awesome. It’s one of those movies that has a pretty simple story, like a lot of great westerns, and I love simple storytelling. I think it’s so powerful. And I think The Magnificent Seven’s very simple storytelling and seeing that crazy group of guys – Yul Brynner, Bronson, across the board – all on horseback, sort of wondering what it was like shooting that, to me, as an actor, that always fascinates me. Knowing the amount of egos and the points in their careers when they had to shoot that movie, that, to me, as an adult, makes me put that on this list. When you watch the McQueen documentary about him, it breaks down how, whereas Paul Newman always seemed so relaxed and cool on set, McQueen was a fighter. He was an orphan who was constantly fighting for validation, you know? And they would talk about how, if you were in a scene with him, forget it. He was going to steal focus. In one scene, I think he’s reloading his gun, and it’s not even his scene, and it’s like, forget it. He wants you to just stare him in the eyes. [laughs] It’s pretty great."

"There’s a funny story here. When I was with Dave Roth he would always talk about Tom Waits in a very respectful way which was rare. I never heard Dave speak reverently about anybody and I didn’t even know who Tom Waits was. I had never come across his music. But all through the years, Dave would always say, ‘Yeah, like Tom Waits’ and I’d just say ‘Yeah, yeah!’ And then I was on tour with Whitesnake and there was this band opening up called Bad English whose singer was a guy called John Waite and I thought “Wow, this was what Dave was talking about? Hmm, it’s kind of strange because it’s not the kind of singer that Dave would be reverent about.” And then I realized I had the wrong guy… So I went to the store and bought about twenty Tom Waits albums and (one of them was Mule Variations), and I remember that I was listening to all these records, getting three tracks in and literally throwing them away. Then I put Mule Variations on and stopped dead in my tracks. It completely leveled me and I can say – out of everybody I’ve talked about – Tom Waits is my favorite artist now. I completely resonate deeply with his music, his voice and his lyrics; I buy everything he ever does. He’s one of those guys who are totally at one with the creative element with no excuses or concerns about what’s going on around him – totally uncompromising.A lot of people think they’re uncompromising, but they’re not…"

"This was a great time for Iggy Pop. He'd been through a lot but this particular time period, things really seemed to work for him. And I like the exploration of early synths here as well. You've got a song like 'The Endless Sea' which has the over-loud synths. I'd have turned them down a little bit but it's great because it's really in-your-face and you can really hear the excitement of the guys getting hold of a Moog. There's an innocence here coupled with an early discovery of stuff. And this album is more about the songs. I don't know if it's a case of something being overplayed but I much prefer listening to this than say, 'The Passenger' or 'Lust For Life'. Maybe it's because those songs are always on and they're just overplayed - and they are brilliant and amazing songs - but there's a tightness about New Values, especially in the drum sound. They've obviously come back from Hansa and the open room, which is a sound that people have tried to emulate over the years, to do something different. Certainly when you look at albums like this, Horses and Marquee Moon, Supergrass were really trying to channel that '75-'79 period and that edgy punkiness but with elements of sophistication. I bought a Telecaster Deluxe guitar in the late 90s and I was really chuffed to get it because it was probably played by one of those musicians from that time period."

"I'd only heard the singles on the radio in America, and my mother happened to be going to Germany. I said to her: "Get me any copies you can of Jimi Hendrix." Because I loved the shiny covers that you guys got in Europe, unlike the crappy covers we got. This was 1967. The first time I heard him was 'Hey Joe', on the radio. The playing was so fluid. I kept wondering how many people there were in the band. I got to meet them on their very first tour. [He pulls out his phone, and shows a photo of Hendrix, taken on Febuary 28 1968, at a club in Madison, Wisconsin, followed by a photo of the poster for the gig, at which he was supported by Soft Machine]. It was $3.50 to get in, and I got to see two shows - a six o'clock and a 9.30 show. The photo is backstage at that show. I was thinking: "Man, a guy who looks that cool …" It was the best ever show. I've been around so long that I ended up knowing the guy who was his bodyguard - he worked for us for a while. He wasn't a sweet guy, he was a "sleep with the fishes" kind of guy. He said he used to go out with Jimi and they would goof off, and there was nothing mysterious about him. Hendrix had it all: the voice, the songwriting, the guitar playing, and the weirdness. He was from outer space."