"This is such a great history of reggae music and the influences it has on other genres. Some awesome artists are covered here, many who kept their creative integrity and resolve in spite of huge and powerful odds…. lessons we should all respect."

"On this desert island I’m guessing there isn’t a boom box, so I’d take this book about the history of 20th century music in which Satie and Wagner are so beautifully described and placed in their own time, it’s as if you hear it playing."

"There are many compilations of Greek Rembetiko music, but I chose this one because it has some classics on it that I’ve been aware of for a long time. In the early 20th-century, after the First World War after Kemal Atatürk came to power in Turkey, there was an exchange – to put it politely – an exchange of population between Greece and Turkey and was extremely unpleasant at the time for both countries. At that time, a lot of Greeks who had lived in what’s now Turkey for a really long time, moved over and came to Piraeus as refuges and brought this music with them which was a mixture of Greek central European and Asian or western Asian sort of music and it evolved into this form of street music played by these guys called Mangas – the wide boy, gangsters, hoodlums of Piraeus in the 20s. It’s funny in Greece still today; some people don’t like to be reminded of that side of Greek history. It’s seen as anti-bourgeois – it’s the only way I can put it. The songs were about whores, smoking dope, stabbing your mates or being done over or sticking up for your mates – these classic themes – but because they were sung not only in Greek but in an impenetrable dialect that most modern Greeks would find hard to get their head around, though it didn’t really get that far past Greece itself. The history is fascinating but the music is like nothing else that I know. Also, even though I grew up in Scotland, I still feel this strong connection to the Greek side of my background, and when I listen to this music I feel I can connect with this history that I know preceded me and I don’t have a direct contact with myself, it’s a way I can understand a little bit of where I came from."

"I read this at the same time as I discovered her music. It’s very shocking, full of sexual abuse, drug addiction, violence, and racism, and opened my eyes to a lot of things I hadn’t known about or understood. It made me realize where songs like Strange Fruit had come from. The rawness of those songs had their roots in a devastating history of life experience."

"It’s such a modern film and it was really just taking all these risks and pushing the boundaries. When you know the history about it, it’s so interesting because it bankrupted the people that made it. I don’t even think it was that successful when it first came out. It just kind of built up this audience over years and years. It’s so beautifully shot and the music, everything just came together, and Sean Young. That was a defining moment in her career. Perfect."

"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."