"Joni's the greatest songwriter ever. And what a record. She writes as this omniscient narrator on this album, surveying everything from above, commenting on this world of women and predatory men she's created, and she has such power and agency as she does it. I've read about how music critics – male critics, let's be honest – struggled with this record at the time. Records like Blue, which touch on a woman's emotional struggles from a subjective standpoint, were so much easier and more comforting to them, I suppose. I love how she intimidated people, and didn't care. 
There's a great unreleased bootleg of demos of this album, called The Seeding Of Summer Lawns. Joni's got all these jazz cat musicians in, but she's written all these complicated flute and horn parts for them already, and sings them all, as they're all in her head. It's unbelievable. I can't speak highly enough of her, and of this."

"I got into Badfinger when I was in my early 20s. They wrote some real grandstand songs like Baby Blue and Day After Day, which were big in America, and obviously they wrote Without You [covered by Harry Nilsson] as well. But if you delve into their back catalogue there are songs that are masterclasses in empathy and full of the most beautiful, human, plaintive tones, and this is one of them. I think it is about a female friend [songwriter] Pete Ham had who worked as a prostitute. It’s always a challenge: can you write a song from somebody else’s perspective and show empathy and show understanding, and also not make it condescending? Can you understand the fabric of somebody else’s despair and write from their point of view? It’s something that is very rarely pulled off, but Pete Ham does it with this song. This song succeeds in looking through somebody else’s eyes and actually tapping into their anguish."

"I know, I know - it's the most classic album on the list. But it is an amazing record. You can look at it in so many ways - just as a piece of music, or what it was responsible for culturally. It really was the most influential record of all time. I'd say it and Never Mind The Bollocks invented modern leftfield music. It has incredible songs, that's one thing. And another is that it has Lou Reed as songwriter. His voice is one of those that you become glued to. It's not as perfect as Scott Walker's, it's more about his phrasing. I love Nico. I mean, how influential was Nico? I think she invented goth. Obviously when she did stuff on her own she really went out there, but with the Velvet Undergound I love the juxtaposition between the songs' melodies and the fact that she couldn't really sing. She had her own style. Amazing record. 'Venus In Furs', 'All Tomorrow's Parties': I love the drones."

"I came across this on the way out to Hoboken to play Maxwell's, and my manager, Geoff Travis, gave it to me as a gift and we put it on the CD player in the van. I was very touched by his gift - he'd thought to give me that record, I was very moved by that. I knew Nina Simone obviously, but I'd never heard her sing like this. It just turned my head - I'm not sure how it's influenced me as a songwriter or as a musician, but again, another album of just classic songs, one after the other, and so much attitude, so much fucking fire. I think, for me, her questions, her lyrics, were just fantastic - from 'Do I Move You?' all the way through. It was a real learning curve of growing up - there's a lot of wisdom in these songs and also a lot of diversity. The music's also pretty hard-hitting: a lot of groove in there, a lot of amazing rhythm. Just an unusual, really surprising record."

"Gorky's were one of the greats. Whoever the greats of the rock canon are – and it's no use me bothering to name various people – Gorky's are as important as any of these people. Euros Childs is a phenomenal songwriter, has a pitch perfect voice and this record is their classic line-up with John Lawrence still in the band. This is also produced by Gorwel Owen and he was perfecting his vision in a way as he was getting more and more into simplicity; the song Heywood Lane was recorded with just one microphone and they bypassed the mixing desk and went straight to tape! It's a really great sounding record. It was really bizarre that the singles all charted in the low-40s without ever breaking the Top 40. You could release two versions of a single at the time to get it into the charts but they never did that even though they probably sold as much as chart-claiming people! But the records are there. It's aged incredibly well and still sounds really fresh and complete."