"If you listen to the first Saxon album, you can hear where the band was at that time, and what we were talking about earlier, with Free and Yes. That album is split three ways: the songs we wrote together that were fast and aggressive; then the more proggy tracks, longer and more musical; then blues riffs. So if you listen that album you can see there were three things that could have happened - we could have been like Free or like Yes, or we could play a new, aggressive kind of music, singing about motorcycles, and those were the songs we wrote together. If you listen to that album you could see where our influences came from, and how it all came together to create ‘Wheels Of Steel’. If you listen to ‘Backs To The Wall’, that is where I was coming from – try to get away from where you're supposed to be and drag yourself out of that to become a musician. ‘Stallions of the Highway’ is maybe the forerunner of ‘Motorcycle Man’ and the songs that Metallica and Megadeth took from and then invented a new kind of music"

"My mother gave me “Little Women,” telling me that she thought I was ready for it. I can’t count the number of times I read it between the ages of 10 and 15 – I used the book like a set of worry beads. It soothed and enchanted me, and it was only much later, as an adult, that I realized that Louisa May Alcott (and my mother) had given me a road map of the journey from childhood to adulthood. It is, obviously, a highly moral book, but to me it felt as if its precepts were based on a personal (rather than a Christian) morality. In the world of “Little Women,” the girls all learned what their responsibility was toward one another, themselves and the world at large – the choice was up to them. They could choose to be headstrong (Jo), unengaged (Meg), shy (Beth) or selfish (Amy). But through their thoroughly engaging adventures they learned to be productive and ambitious ( Jo), loving and domestic (Meg), musical and devoted (Beth) and artistic and philanthropic (Amy). I learned that I could be whatever I wanted to be, and that you could come from anywhere to achieve [it]."

"The last film I’m going to list is a documentary about Red Hot Chili Peppers recording Blood Sugar Sex Magik that was called Funky Monks. It’s about an hour long, it’s shot in black and white, and it’s about them recording Blood Sugar Sex Magik in this house in Beverly Hills. Blood Sugar Sex Magik was arguably the most important album of my young adult life. It sort of put me on my musical path. I guess now, looking back on it, it’s not at all ironic that Funky Monks was the first documentary that I ever watched. It sort of set me on a documentary path, where it wasn’t just narrative movies that interested me, but also real-life stories told in documentary form were now available to me. It greatly influenced me, not only in the Tower Records documentary, but also in all the documentary work that I’ve done. It is, I find, an incredibly engaging film about a subject that I am very passionate about, which is that particular record, and that particular time, not only for that band, but for music in general."

"When I was young I became a huge Fellini fan and realised there was just one person doing the music for all his films. Casanova is one of the lesser known Fellini films I'd say. I hadn't seen it until my girlfriend and I watched it about five years ago. It blew me away because it's one of the spookiest; it's a very bizarre film, and the visual and musical landscape are both edgy and weird, as well as sexy. It's one of my favourites now. Nino Rota is perhaps my favourite composer now. I feel like something happened in the 60s with film scores where these classically trained composers were suddenly expanding their palettes to include synths, electric harpsichords and guitars. Nino Rota has really influenced me a lot, he chooses spooky notes and disturbing sounds, although I never knew about the Casanova score until 6 or 7 years ago. My girlfriend started watching the film with Donald Sutherland and we couldn't believe the soundtrack, it was so interesting and moody. It turned out to be my favourite Nino Rota score, even though I hadn't heard it until then."