Influences: Dom Servini

Technically the most perfect album there is, in my humble opinion. It won a Grammy for the Best Engineered Non-Classical Recording in 1978, and the title track features one of the most stunning sax solos from none other than Wayne Shorter. The sound on the album is something for every musician and producer to aspire to. I love dirty, grimy productions, but you also have to doff your jazz cap to Gary Katz’s astounding work on this LP. “Peg” (used famously by De La Soul) and many other tracks have been sampled in hip hop, and have made the Dan, other than James Brown, one of the most sampled outfits in music history.

I remember the first time I heard this track and it just blew me away. It has a very dark kind of vibe, partly due to the lyrical content, and also the ominous percussion and bass work out and the slightly eerie Eastern sound of the soprano sax, strings, bells and of course Leon’s sinister laughter and yodeling. I later found out that Mr Thomas had to yodel on his records as he’d lost most of his front teeth after falling down the stairs! I guess that’s inspirational enough, but this record gave me the confidence to play moodier and more sonorous tracks that can still work on the dance floor.

I love this film so much. Cary Grant’s performance is second to none; Eva Marie-Saint is perfectly cast as the possibly untrustworthy leading lady and James Mason’s role as the villain of the piece is just something else. Hitchcock takes you on a journey right along side Grant and you share his growing frustration, anger and fear in this simple case of mistaken identity. For me it’s the director’s finest work, and Bernard Hermann’s score keeps the tension tight right up to the closing credits. Even though it was made way back in 1959, it has set the benchmark for me for the thriller and is yet to be beaten. The scene at the art auction is possibly my favourite in any film ever. Totally inspirational cinema… oh, and I didn’t even mention the poster artwork!

Apologies to any Liverpool fans reading this, but I have to include this as my favourite sporting moment of all time. As a life-long Arsenal fan this was something very special indeed. Arsenal went to Anfield needing to win by two goals to steal the league (when it was still The First Division and football was a much more palatable business) and did exactly that. Michael Thomas kept his head and slotted the ball home to make it 2-0 to The Gunners with virtually the last kick of the game. I know it’s only sport, but Michael Thomas’ composure under unimaginable pressure was just so impressive. I was eighteen years old at the time and that kick of the ball cemented my love for the club, and the game, even though today it’s something of an unsavory business on the whole.

For me Bill was the greatest comedian of all time. In fact, he was much more a social commentator and provided the kind of voice that’s sadly missing today. If he was around right now, he’d certainly have a lot of material considering what’s going on in the U.S. with Trump and co. Bill told it how it was – he lifted the veil on what most people ignore day-in, day-out, as they get on with their busy lives. He was sticking it to corporate America and their puppet Governments way before anyone else; but he also believed in peace, love and equality, and the end of many of his gigs provided a eulogy on just that which counter-balanced his dark and visceral humour. He was the best, and the world is a far worse place without him.

One of the cleverest, most gentle and refreshing pieces of television I’ve seen in the last twenty years. Starring Toby Jones and Mackenzie Crook as two metal detectorists trying to find happiness and meaning in their lives (as well as a stash of Saxon gold) this is magnificent television, as well as the BBC at it’s best. It’s a brilliant example of why this institution needs to be preserved and not sold off to the highest bidder. Mackenzie Crook’s writing is sharp and witty whilst also being gentle, melancholic and heart-warming. Just brilliant television.

SNC was an iconic, one-of-a-kind music magazine, edited by the inspirational Paul Bradshaw. I was lucky enough to garner the role of Singles Editor in its later years, which was something of a dream come true for me. The magazine stylishly covered the jazz influenced underground music scene I loved so much with great expertise, and Paul was one of the most open-minded and encouraging people I’ve ever worked for. Again, it’s something that’s sorely missed today – but hey, you never know, we might be able to convince him to bring it back….