"I have a daughter who is six next week. I played her some Bruce Springsteen. She's really into sad songs. I played her 'The River' and she really locked into that song [Black suddenly starts singing, doing an amazing impression of The Boss]. She asked: ‘Is this a sad song? I like the sad songs.’ She really likes Bruce Springsteen. I really liked this record, and I downloaded it for our kitchen listening. I really got into some of the other tracks. 'State Trooper' is so great, so minimalist. It’s fucking two chords and a few words. It’s the most and the best example of that Bruce Springsteen song where he’s the character of a down and out desperate guy. And it isn't going to get any better. I’ve got into listening to Suicide. I didn’t realise that Bruce Springsteen covered a Suicide song. It made sense he’d get into the vibe of the song. It’s a song called 'Dream Baby Dream'. Suicide are so good at the psycho-rock’n’roll-landscape. Even though Bruce is not trying to be ironic, I think that Bruce Springsteen is trying to retain some primal instincts while being a modern guy on the street with a story to tell. Bruce Springsteen gets a lot of bad press because people like his songs so much. I’m OK when someone I really like does something I’m not totally into. I’m not worried. I still have the records I really love. If they’re really going to go to the top of the mountain, they can’t be there all the time."

"That was a really good band for me growing up. Lots of my friends were into really heavy bands like Korn and Limp Bizkit. And I always used to find a lack of melody and musicality to those bands; they seemed all about aggression and there were no tunes to sing, and the lyrics were usually shit as well. And Deftones were really melodic, and that's rare. They would play in such an aggressive way and yet they had this mode that they always wrote in, so their songs always have a certain sadness to them no matter what they were doing. This record has this incredible sadness and extra power you could never get, no matter how loud you play it. The harmony has such a nostalgic wistfulness. The older you get, the more you get into the feeling and the emotion of it, whereas when you're young it's all about the excitement. The album hit the perfect sweet spot for me, where it gave me all the aggression I wanted from Nirvana, but these guys are extra heavy and they have this amazing sadness. I used to play the drums and would play exactly the sort of things Deftones were doing. I also think Chino Moreno's singing style, high and forceful, along with Thom Yorke, is where my voice comes from. I always try to emulate them. Moreno could sing hard but he could sing a melody that was high and above the dirge below, sailing out above the chaos below it"

"What can I say about this one? Well, I just love it. Of course that became a mantra for the civil rights movement. ‘Respect’ is just basic to everyone: everybody wants it. Even small children want respect. They don’t know that they want it, but they want respect. They let you know when they need something, and when they do, it’s a little respect. Everybody wants and needs respect. It’s basic to mankind. Perhaps what people could not say, the record said it for them. “I remember recording it with the Memphis Horns down in Muscle Shoals. Great session, great players. I had no idea it would become the hit it became. No idea. My sister Caroline and I got together for the backup vocals. And during that time, in Detroit, there was a cliché called ‘sock it to me,’ and I decided to put that in the background: ‘sock it to me, sock it to me, sock it to me.’ There was nothing sexual about that. It’s like if you gave me a high five. “I don’t think I was a catalyst for the women’s movement. As far as I know, that was Gloria Steinem’s role. But if I were, so much the better. Women did, and still do, need equal rights. We’re doing the same job, we expect the same pay, and the same respect. “I never get tired of singing it. I really love it. And I find new ways to just keep it fresh for me, without changing exactly what it is people heard on the record."

"Do you know that film Empire Records? It's got Liv Tyler and Renée Zellweger in it and it's a very 90s’ coming-of-age movie about these kids who work in a record shop. I used to be completely obsessed with it, I wanted to be Liv Tyler and I wanted to have her fluffy jumper. They used to put loads of sugar in their coffee and when I was fifteen and starting to make coffee for the first time, I used to put ten sugars in it, because that was what the kids in Empire Records did! This song comes on at the end, just as all the characters are dancing together. It’s so lifting and so fresh. There are no other songs in the world where an accordion sounds so good. “I've listened to other songs by The The but I'm much more of a song person than an album person. I'll make playlists and go back again and again to the exact same song. I feel like they've got a couple of other bangers, I can't think what they're called, but 'This is the Day' sounds exactly like what it is. It sounds exactly like what they're singing: ""This is the day when things fall into place!"" “It's also a song that me and Celia really bonded over when we first met. We both realised at the same time how much we love that film and we both have it as our 'wake up in the morning and pull your finger out' song."

"We'd finished recording the Ziggy Stardust album at that time and it went into the record company. They said: 'We can't release this. It doesn't have a single on it!' I think it was more of a thing to have a single to promote an album in those days – maybe it still is, but it's not as significant as it was then. So, we came out of the studio and in about a month he had written 'Starman' and we were back in the studio by January. It was an obvious single! I think Mick and I went out in the car after David played it for us the first time, and we were already singing it, having only heard it only once. At the time, we thought it might be a bit too poppy, a bit too commercial. It might seem strange, but we just hadn't done anything that commercial before. I always thought Bowie had that ability, that any time he felt like it, he could write a hit single. He just had that about him. I think he chose not to right through his career. If he felt like it, he would write one, and if he didn't, he wouldn't. That was just the impression of working with him. It's not a fluke to be able to write all those amazing tunes. Like with 'Starman', he didn't try a few out, he just went bang, 'Alright, I'll write one'. But if it wasn't for that song, the whole thing might not have taken off. It pulled it all together."

"I think I came across this record because it was produced by Dave Fridmann and I was interested in him at the time because of other stuff he’d done, particularly The Flaming Lips. I heard this record and asked other people about it and they were saying, 'Aren’t they kind of folksy?' And I was like, 'No! What? Have you not listened to them?' Because this album does have that quiet, acoustic thing at the heart of it, but Fridmann has produced it like In Utero or something. Almost all of the instruments are pushing at the top of the range and it gives this really weird feeling of a loud quiet band. This song ‘Cue The Strings’ has this kind of crappy, wind-up string sound, that sounds like it’s been recorded onto tape a hundred times with two voices singing over it. That’s all that’s in it. But you get this feeling as it goes on that it’s absolutely massive and it’s hard to describe why, but I think it’s something to do with that production, the way it’s just biting at the distortion level. It’s got this swelling feeling that’s like the sun rising and that matches the lyric; 'Here comes the cold sunshine.' You get the feeling of being on a planet that has no atmosphere and when the sun rises you’re going to get burned up. It feels like such a huge sound but it’s really only two voices and a keyboard. I think that’s a great example of the power of production."

"What can I say about this one? Well, I just love it. Of course that became a mantra for the civil rights movement. ‘Respect’ is just basic to everyone: everybody wants it. Even small children want respect. They don’t know that they want it, but they want respect. They let you know when they need something, and when they do, it’s a little respect. Everybody wants and needs respect. It’s basic to mankind. Perhaps what people could not say, the record said it for them. “I remember recording it with the Memphis Horns down in Muscle Shoals. Great session, great players. I had no idea it would become the hit it became. No idea. My sister Caroline and I got together for the backup vocals. And during that time, in Detroit, there was a cliché called ‘sock it to me,’ and I decided to put that in the background: ‘sock it to me, sock it to me, sock it to me.’ There was nothing sexual about that. It’s like if you gave me a high five. “I don’t think I was a catalyst for the women’s movement. As far as I know, that was Gloria Steinem’s role. But if I were, so much the better. Women did, and still do, need equal rights. We’re doing the same job, we expect the same pay, and the same respect. “I never get tired of singing it. I really love it. And I find new ways to just keep it fresh for me, without changing exactly what it is people heard on the record."