"This is my favourite album ever. I spent the end of my teenage years and my early twenties listening to old music – rockabilly music, stuff like that. Then I discovered folk music when I was 25, and that led me to Dylan. He totally blew me away with this. It’s like the great album from the second period, y’know? He did that first run of albums in the Sixties, then he started doing his less troublesome albums – and out of that comes Blood On The Tracks. It’s his masterpiece"

"For me this is possibly the greatest rock album of all time. It's a band playing at the absolute, height of their power. It's very ambitious: it's got elements of ska and funk, pop songs, soul, jazz, rockabilly, reggae - and in the end it's got this really great blues energetic vibe. It just seems like they tossed it off and lyrically it touches on a lot of different subjects. Some of the songs are very political: 'Spanish Bombs' is about the Spanish civil war, 'London Calling' itself - that song is such an anthem. The band had some commercial success after this album - with Combat Rock - but to me London Calling is the pinnacle of their song-writing. It is just a fantastic record with an iconic sleeve; that shot of Paul Simonon smashing his bass, it's just incredible. I saw The Clash play in Chicago when I was on tour and it was like electricity. They came out and they started with 'London Calling'. The place was rammed with 5,000+ people and it went OFF! It was as if a bomb dropped and it was one of the most exciting concerts I've ever seen!"

"This was the basis for the baseline in Sleaford Mods, fucking great stuff. Stuff like 'The Lurch'. They did a cover of the Gun Club's 'Sex Beat', that's great. Most of Weatherall's work is bass heavy, it's solo stuff. Wrong Meeting, the album that came after this, that's bass-led. There's a rockabilly feel to it. But with From The Double Gone Chapel it's 80s synths, bass, car alarms. The inner sleeve, which is just a coffee stain and a packet of Marlboro Lights next to it, that really influenced me. Same with Mike Skinner's sleeve where he's just sat in his flat with a pint, it's just fucking brilliant. That's how it is, he's not pretending to be anything. Those things merge, all of it is a big melting pot. I think I've hit it good with the albums that I have chosen for you as far as my contribution to Sleaford Mods. I mean, Andrew, whatever he makes, I go with. Initially, when we started doing Wank, the album before Austerity Dogs, I would have said to Andrew that I want a big heavy bass and I want a dusty Wu Tang thing. He took that on board and made it his own, then he would bring these slices of music to me and I thought the sound wasn't something I'd really go for, but it was quite good. I don't tell him anything any more, he just gets on with it. This the band I've been trying so hard to get into. I think we've been very lucky, regardless of the hard work and the shit me and Andrew went through, it was luck as well. I feel quite grateful that it happened to us."

"I heard this around second year at school, I must have been about 13. I bought it on vinyl and just caned it. The production on it is great. The Meteors were completely obsessed with 1950s music, doo-wop, rockabilly. And they were purists, you know. They despised people like the Stray Cats and the Polecats and the more charty bands of the time. Nigel Lewis, the bass player, I was quite influenced by his voice. In early Sleafords stuff I try and mimic it a little. It still sounds great. It's almost comical, lots of horror references. The Meteors invented psychobilly, there weren't any psychobilly bands around before them. It would be interesting to talk to Nigel Lewis, I tried to contact him but he never really got back to me. He left after the first album and they went to shit after that really. Well, now it sounds alright. But they got more thuggish, it wasn't very intelligent. There was a little bit of nerdiness about it at the beginning. Once Nigel Lewis left, P Paul Fenech got really arrogant and it married itself to the scooter scene at the time, which was predominantly white lads on scooters, pilot jackets, skinheads. It wasn't a very nice scene at all. There was a streak of racism, very misogynistic as well, just not very intelligent. Scooter rallies were quite hostile environments, you know. I went to one in Donnington in about 1984 and Desmond Dekker played and there were skinheads trying to get onstage and batter him with pieces of wood. It was just terrible. There was a little mod contingent but it was mostly this new breed of second generation mods who turned out to be scooter boys and psychobillies as well, the two things merged almost, it wasn't very nice. I was interested in the scooter thing and mod thing but I wasn't too taken with this, ""Oh fuck off, get your tits out!"" thing, and there was a lot of that. It just wasn't very inspiring."

"I didn’t really know about ABBA when I was growing up, they’re one of those bands you think you’d get into through your parents, but my parents didn’t listen to them. I think the first time I heard them properly was in Muriel’s Wedding, obviously that wasn’t a cool thing so they became a kind of guilty pleasure, but when Mamma Mia! came out in my late teens I was ‘Damn, all of these songs are so fucking good.’ “I have this list of songs in my head that I think are perfect, obviously that’s completely subjective, but they’re untouchable pop masterpieces like ‘God Only Knows’, ‘Bridge Over Troubled Water’, ‘Waterloo Sunset’ and ABBA have so many of them. There’s a humanity in their songs but they also feel like ‘how could anyone have made something so perfect?’ The writing, the production, the arrangements, even the way their voices sound, it has the same effect as when siblings sing. Their voices are unbelievable, sometimes I think ‘is that a weird harmony?’ but it’s just the way their voices sound together, it’s incredible. “This song makes me well up because it’s so perfect, but it’s also so silly, it makes me want to throw my hands in the air, I want to dance when I hear it and I want to smile. You feel silly when you hear it, you feel camp and like a character in Muriel’s Wedding or Mamma Mia! when it comes on. It’s an amazing feeling and that is the power music isn’t it? “The other thing you have to remember is that one of the things that made The Beatles so amazing and such an interesting proposition and a reason why people really like The Velvet Underground as well, is because they changed the way songs were written, they rewrote the rulebook. Before then all music essentially sounded the same, everyone was using the same three or four chords and melodies, that kind of Rockabilly and Rock and Roll, all operating in the same framework, even the blues, The Stones and The Beach Boys, until they started breaking the rules too. But ABBA were making this music only ten or twenty years after pop music as we know it began to exist and it’s so innovative. “You know when people talk about their favourite bands? They’re a band who if you’re in a car, someone could put on an hour of ABBA and I’d like every song and there’s bands who I consider to be my favourite bands who I couldn’t say that about. It’s banger after banger, I guess it depends what mood you’re in, actually I was listening to them in a car the other day and someone told me to turn it off! “It’s mind-bending how good they are when they’re at their best. I think music is more often than not written about as art, but it’s also entertainment and whilst what they do is this incredible art it’s also so entertaining. It’s funny, we’ve been speaking about music for the last half an hour but this is the first time where we’ve talked about music making us happy and that’s really important. Music should make you happy and ‘Dancing Queen’ definitely does that."