"A total classic from George Lucas, pre Star Wars. It's the start of pop culture going retro, as it created a whole kind of rock & roll revival with records being reissued and that double LP soundtrack being released. It's the past informing the present so it's important in terms of pop culture and teen films. It influenced a couple of other movies that we're going to talk about later. And I love the music – 'I Only Have Eyes For You' and all those tunes. Fantastic."

"It’s very hard for me to prepare for something like this because I collect non-stop, discover new things every day, and take music very seriously. I hate the technological rip-offs that pass for music formats these days, and go back to vinyl to hear a good record because the sound is always so much fuller. “I don’t even like listening to music in the car. But iIt would be ridiculous not to mention Kate Bush as someone who creates a powerful dreamscape and a great mood, but I also love Traffic, the pop textures of Marc Bolan, and all kinds of techno."

"I had a choice of which night to go and see them at the Tate and I chose The Man-Machine, but for this I chose Radio-Activity. I think I chose it because I was trying to think of records that work as complete albums and the mood of this record as a whole is perfect. I’d say it has more in common with the classical music here than it does with some of the pop or rock records, because they are more a collection of songs that are put together, whereas this is more like classical music where you have a motif that repeats itself at different points over the course of the larger piece of music, which is why albums are so wonderful because you listen to them as a whole! Man-Machine is a great pop record probably even Computer World is more pop. The reason I picked this is that we’re back to this melancholia. There are a few pieces of music that make me feel that – how can I put it – I have a strong physical response to. Whenever I listen to Radio-Activity, every muscle in my body slackens and the blood becomes thinner and more fluid in a really beautiful way. It’s almost as if you are relaxing and giving yourself over to the melancholy you feel, but you try to deny in everyday life, but when you hear this music, it allows you to acknowledge it. The other thing I love about this record is that the vocals are very open and unconsidered. Ironically for a band that has such a high conceit about them, the music is very pure and very human. It’s a classic distraction technique as if to say, “Don’t look at these emotions, look at this technology”."

"This reminds me of my dad. He was into liberation drum circles in the Matabele community in Zimbabwe and he worked with people from that community. This is a record from the Ndebele language. Nothembi is an amazing guitarist and it's a rocking album with amazing synths as well. I've been playing this quite a bit over the past year. I almost got to play with her but she didn't turn up. My dad used to listen to Thomas Mapfumo - who supported The Stone Roses at Spoke Island - and I thought this was really funny [at the time] - I should have asked my dad to come along to that gig! My influences for music were more down to my big brother and sister and my mam was into different music again. It's inevitable that you are influenced by people around you. I'd get Anglo-American punk rock and pop music from my brother and sister but my dad wasn't into that; [for him] reggae was acceptable and maybe Welsh language pop. He didn't engage with music to the point where he had influenced my sound whereas my brother and sister's records influenced me directly."

"The way I look at it is that I’ve been searching for the perfect album to drink beer to my whole life. As far as that goes, this is it. This is the album. Perfect music to get drunk to: Iggy Pop and The Stooges. It’s just that raw energy. All the pieces are there, but it’s not squeaky clean. Like his album Raw Power, that’s exactly what his music is. Take your shirt off and chug a beer. That’s all there is to life at that point when you listen to that record."

"""If you want to pick a Dusty Springfield album, it is tricky because you are not going to get the benefit of having some of the singles. The greatest thing about Dusty Springfield was her run of singles, but pure greatest hits albums are easy to wear out and you end up wanting a little bit more. This record does it all for me. It's from that period where she was undeniably the best singer in pop music and that includes singers from the US too. There is a sound to this album that is rough pop and soul without it getting too purist. It was made by someone who was very serious about what she did and had a voice that I don't think has ever been bettered. There is a desperation in the way she sings that made her a fascinating person and a person with some depth. It's a great combination that seems to keep cropping up - where pop music is made by an interesting character. I sometimes get a little tired of forty-somethings cataloguing American music from the 60s. It always get a little predictable and the same names crop up, like Aretha Franklin and Otis Redding. While you aren't ever going to get around that, in this case because it is Dusty Springfield singing those songs, there is an edge to them and something more interesting. I know it is a conceptual idea, but sometimes you want authenticity to be played with a bit. With Dusty being an intriguing, white, part-Irish woman who had completely reinvented herself in the middle of the Tin Pan Alley pop machine, she was able to put a weird slant on her music. She put another angle on songs that were already great and - put it this way - I prefer her versions to the originals."