"I was a student at N.Y.U. in the ’90s. It was the first semester of a musical theater class, and one of the students got up and sang “Every Day a Little Death.” It was dark outside and snowing, and I remember hearing the song and thinking, “What is this?” It’s such a simple series of tiny moments that make up a day, that seem to be completely pragmatic descriptions of everyday life, played against the unbelievable torrent of sweeping emotion underneath in the music. And that is such a classic skill of Steve’s, where lyric plays against music, and the two things together, in the ear of the listener, tell you the whole story."

"OK, from now on these aren’t in any order. It’s the same with movies: I have my three favourite – Taxi Driver, Blow Out and Rio Bravo – and after that it depends on my mood. This is one of my favourite protest/folk albums. While Dylan was a poet Ochs was a musical journalist: He was a chronicler of his time, filled with humour and compassion. He’d write songs which would seem very black and white, and then , in the last verse, he’d say something which, like, completely shattered you. A song I love very much on this album is ‘Here’s To The State of Mississippi’ – Basically, it’s everything the movie Mississippi Burning should have been."

"A compilation from South Africa in the 80s of Soweto sound at the time. My mum's from SA and she had it on double cassette and would play it in the car as she drove me to school. It's full of unashamed joy and has a kind of cheesiness to it that I love. There's an innocence to the songs, which is interesting because you can sense the strange American influence in SA music at the time - which is similarly mirroring some current musical trends from abroad. You can hear Prince, a bit of Michael Jackson and American pop, but retranslated through musicians and equipment that they had access to at the time. It's a killer compilation."

"Speaking of Giorgio Moroder, you have to give it to the guy. What a brilliant team, him and Donna. From the very opening 'Once Upon A Time’, this is a kind of a mini-musical and completely sums up the studio 54 NYC disco era in one fell swoop. This record could actually turn a straight man gay - especially the trilogy 'Now I Need You', 'Working The Midnight Shift' and 'Queen For A Day' It must have cost an absolute fortune to record with all the brass and string arrangements, but this is Donna at her absolute post 'I Feel Love' best. I wish I could have been a fly on the wall."

"This is another one of Dan’s choices. I don’t really know much about this song, but I reckon it’s probably got some harmonizing guitars in it. Or maybe Frankie [Poullain, bass] chose this one, because he loves a bit of Phil Lynott – his posture and his voice and the hardships that he suffered in his development. I think we can all be inspired by that and Live And Dangerous is an excellent distillation of the attitude of that musical artiste. And every song on it is a hit. There is a rumour they re-recorded everything apart from the crowd sound, but that’s only a rumour. It’s an album. We should just enjoy it for what it is."