"I don’t mean this in a derogatory way, but Graham Oliver and Steve Dawson of Saxon were into the bluesy bands - simple but with a lot of groove. But me and Paul Quinn were into more muso bands like Genesis and King Crimson. That was the type of stuff we played, with more jamming and improvisation. As a bass player and singer, my goal was to play like Chris Squire. I used to try and learn the songs – it took me about six months to learn ‘Roundabout’. I‘ve talked to Rick Wakeman about Yes, and he said Jon Anderson would structure melodies like I do it. They would sit in a room and arrange things around the vocals, and we do that because it gives me more freedom to write. I could listen to this all day. NWOBHM bands liked Yes because the musicianship was great - it moves away from blues feel to a jazz feel. A lot of these guys were university trained, but we learned from listening to music. We knew nothing about music theory or scales, but prog rock really made you better as musicians when you learned to play it. It seemed unattainable because it was so good."

"Many of our generation of white, British, middle-class musicians who went to art college all knew about Mose Allison from ‘Parchman Farm’ and one or two other songs in the early Sixties that had been done by British R&B bands. So I knew a little bit about him but I suppose like many people, assumed he was a black guy. He turned out to be a Mississippi white guy with pasty legs and an obvious understanding of jazz and its traditions. He did most of his work in a piano trio with a bass player and a drummer, and he sang in this very laconic and down-home way. I wouldn’t say his songs never touched on romantic lyrics but they were often about stuff. About real life – that’s what gave him credibility and a high level of authenticity, because you knew this wasn’t a guy making it up, this was a guy who had lived the things he sang about. I, like many people of my generation, was struck by his work. The Who recorded at least one of his songs. I expect today there are a few younger musicians who will know about Mose Allison in the same way they will know about Roy Harper."

"A great, great movie that was unjustly robbed of a lot of the recognition it would have gotten, but it came out in the year of amazing other movies, you know, like Apocalypse Now and a lot of other great stuff. To this date it is the most accurate portrayal of theater folk and what it’s like to produce and be part of theater. As a theater geek all my life, I was hoping that Smash would be like that, and boy it’s not. All That Jazz nailed it, just in terms of the reality of it. But again, it would go off into those fantasies that still totally worked, and worked as incredible dance numbers, but you know, were clearly fantasy numbers inside one of the most realistic portrayals of that subculture that had never been put on screen. It’s f—ing perfect. It’s just f—ing perfect. It’s great because it’s funny, it’s cynical about the theater but also clearly loves the subject matter. You know, I grew up backstage — my parents were actors — and it just captures that world absolutely incredibly accurately. Plus, it’s just a really ballsy, artistic movie from Bob Fosse in that it incorporates a lot of strange stuff, but all of it works."

"Again, her whole catalogue is amazing. I love her music back to front. This is her hit record, as it were, not that it was a proper hit unfortunately. It's been with me for a while and I love it so much. We brought a few pieces of music to listen to while my wife was giving birth to our daughter and this was one of them. That gives an indication of how embedded in my life it is. The tone and mood it sets... She was deep into that sense of spiritual connectedness and universal love. I understand how people who aren't necessarily spiritual might see it as a foolish hippy diversion, but for me, this unlocks the potential of what music can do. At the time it was married to a political agenda, same for all these spiritual free jazz records, and I feel that it's a really unfortunate thing that people don't seem to be able to articulate that so well in the contemporary music world. This is an analysis and that's not why I love it, that's because when I put it on it's my favourite thing to be listening to. But it also stands up to analysis - there's so many reasons to love this music."

"Tom Waits really brings a lot of showbiz into his records. It’s in there in the actual songwriting. He knows how to strip things down and get to some skeletal place that’s really strong. He’s trying to be true to his Jazz and his Blues. That is to be admired. There’s a lot of the textures you don’t hear so much. All that vocabulary is really seductive. I think that he’s a good songwriter whatever record you talk about of his. It’s not because there’s some fucking guy playing a saw. It’s like the Bruce Springsteen thing. It’s stripped down, universal, folky bluesy stuff. He’s trying to say: “You guys think you can change things overnight. Forget the new thing. What about Django Reinhart? Son House?” It’s like the Grand Duchy thing. People get obsessed with our production like, “What’s the new story?” It’s admirable when people say: “What about 1949, man?!” At first, I heard a cool White Stripes record and thought: “Who do you think you are, Robert Johnson?” And I get jealous. Fucking A! man. It’s like primal Led Zeppelin or something. But at the end of the day, I always end up respecting Jack White. [Black does an impression of the 'Seven Nation Army' riff.] Jack White has some believability."

"So this is pre-teen me; I became a bit of a rocker. This is when I got into Marvel really heavy, and still playing in jazz band and other stuff. I remember my favourite movie at the time was The Crow, and when I was younger the littlest thing would snag me, like if I heard some type of melody or harmony or something that would immediately get stuck in my head and I would have to know where it came from or what it was. Stone Temple Pilots, for me, it started with The Crow. I remember hearing Scott Weiland singing the melody of 'Big Empty' and I was like, 'What? Who wrote this? Who the hell wrote this song?' I was literally like, I had to find this album. I would listen to albums with repetition a lot of the time, and this is right in the middle of like the grunge era. All kinds of stuff going on, and clearly Stone Temple Pilots, when they came up, were making waves outside of that. Ultimately, because Purple had my favourite song from my favourite movie on it, it essentially became one of my favourite albums when I was a child. To this day I still listen to it."

"The first Stooges album came and went, it was a band finding its feet, learning how to play, being part of a scene, being influenced by the MC5, and it's really amazing. But Fun House… just listen to the difference between the two records. You have to wonder what happened in between; was it mind-bending psychedelic drugs? That's what you'd think, isn't it? It's psychedelic, there's jazz in there, it's an unfathomable album and it's been very influential. It was produced by Don Gallucci from The Kingsmen, which seems like a really weird combination. They had real problems recording it, which is why there are so many different versions you can get of it. And nothing was working so they ended up stripping everything out of the studio and just doing it as a gig. So it's Iggy with a handheld mic and the band are just amped up and really going for it. And there are real punk songs on there like 'Down On The Street'. That is prototype punk: like the blueprint for punk. It's a benchmark album, and the fact that they produced it in 1970 is even more amazing. Imagine being a kid in 1970 when that landed… it didn't sound like anything else on Earth."

"I think that tune is such a perfectly crafted piece of music. The funny thing is there's two mixes. There's the Jamaican mix, and the Jamaican mix is tough but I do like the other mix too. I got to work with Tony Platt who was like the engineer at a lot of those sessions and he was telling me all sorts of stories. And then what the song was about, when he was living in London and he was hanging around in Soho. It makes so much sense now because when I was really playing this a lot was when I was spending a lot of time in Soho, going to Ronnie Scott's, learning my craft, learning to play drums and jazz, going to clubs, hanging out ‘til 4am. So I felt it, I could picture him being there like ‘Rahtid…’ Everyone's been out on the night bus and seen something and think did that just happen? So I've always had an affinity with that particular track, sonically and content wise. I think people don't often talk about that side of Bob, and they’ve made him out to be this ganja-smoking, peace-loving guy, that’s not really what he's about. He's very political and does a lot of social commentary."