Gordon Skene from Frightened Rabbit shares the albums that made him want to get into music, inspires the bands sound, what he listens to on tour with The 405.

The first specific memory I have of enjoying a song is from when I was about four or five and my mum would play 'America' from West Side Story on the piano. I would gallop up and down the hallway furiously, back and forth for the duration. I had no idea what it was, or even that there was such a thing as West Side Story. So my mum taught me piano from then. Like any child, my musical influences were just what my parents listened to - in my case, it was Cliff Richard and the Carpenters, classical piano and choral stuff, and hymns.

So obviously I got into rock music as a teenager, and stuff that would piss off my parents a bit. Michael Jackson's History collection was my first contraband material. He'd always been villified in a vague sort of sense in our house, so one day in an act of defiance after I bought it, I left the cassette box clearly visible on display on the dashboard of our car when we went to pick up my gran from the station. It was wild. I felt electric!

So, basically I'm a bit of a sucker for a great pop song, in any form that may manifest itself. Hooks and beautiful melodies, the usual. Harmonising, that sort of thing. Cliff and Michael, those antitheses, God and the Devil, set the groundwork for me I think.

As a teenager I think it was Radiohead's The Bends and OK Computer that made me want to maybe try to write some music as well as just play it. Without You I'm Nothing by Placebo was another favourite of the time, and I learned to play both those albums in their entirety…all day. I guess the Placebo lyrics can seem a bit immature or sometimes crass, but at that age it was just I wanted. It seemed impassioned, serious, revealing and compelling. Plus, the guitars and drums were crashing like fuck, or really nice and mournfully pretty. I wanted to be able to make those sorts of sounds. In Radiohead, I found inspiration in the intelligent nature of it, while still remaining accessible and "cool". A subtle tonic in the heady day of the brit rocker and the swagger-culture.

Three Scottish bands in particular were important to me, and through them I maybe got the idea that I could take this dream of making music that I had, and possibly dare to make it a reality. Idlewild's 100 Broken Windows; Biffy Clyro's Blackened Sky; I saw these bands live and heard them on the radio, loved their music, but yet here they were a step closer than the American or London bands I'd previously presumed to be the only folk allowed to be rock stars.

The third is Arab Strap. I have this distinct memory of getting out the shower one day, turning on the radio in my room and Mark & Lard on Radio 1 were playing 'The Shy Retirer' and I just stood there listening in my towel (I hardly ever do this), mesmerised. Arab Strap are fucking awesome. Monday at the Hug and Pint was my gateway.

I moved to Glasgow and got swamped with all this new standard issue stock listening. Here, in This City, some of my heroes lived and breathed.

I could mention a lot of albums from the dukebox in Sleazys now, but instead I'll just highlight that Daydream Nation by Sonic Youth as quite possibly one of my favourite albums of all time. It caused a huge swing-around in terms of influencing the way I write and play. Broken Social Scene and And You Will Know Us By The Trail Of Dead have also been big for me in the past, particularly You Forgot It In People and Source Tags & Codes respectively. And of course Isn't Everything by My Bloody Valentine.

At the moment, I'm listening to Chilly Gonzales' Solo Piano I & II. It plays that wonderful trick of being beautiful and clever, intricate yet seemingly simple. (Fleetwood Mac's Rumours is another album that works this magic amazingly.) I love his production work too, in particular Feist's The Reminder. He's all over the place in terms of his output, what with the modern/classical compositions, the indie/pop production, his orchestral rap alter ego, and now a collaboration with Boys Noize; not to mention his comedy mini-series SuperProducer (look it up on YouTube).

I listened to Put Your Back N 2 It by Perfume Genius a hell of a lot during the making of our new album. It blew me away the very first listen and has continued to do so ever since. Very basic, but very direct, and very, very beautiful. I guess perhaps the hymnal chords and structures might hark back to my childhood. I also love little short songs. Not least because they are the ones I can manage to remember how to play.

So Put Your Back N 2 It and Solo Piano II probably spurred me to revive my piano playing a little, something I enjoyed the most out of making the new album. Not particularly indicative of the sound of our music perhaps, but as well as giving me something to practice, it's good to have something soothing to turn to at the end of the night.

On tour I mostly listen to albums from two categories: Old Favourites (of mine) and New Finds. Old Favourites is for hangover days and looking out of vehicle windows; Cassadaga by Bright Eyes usually sorts me out with a bit of mutual wallowing. Total Life Forever by Foals also does the trick. Deftones' White Pony and Ignoto by Yourcodenameis:milo are used regularly to help me sleep, a sort of noisy warm safe-zone comfort blanket. Best when applied with liberal amounts of inebriation and juddering from the bus wheels. New Finds at the moment are Lau's Race the Loser, Grouper's Dragging A Dead Deer Up A Hill and Given To The Wild by The Maccabees.

I'm not sure where Kurt Vile fits into all of this. Childish Prodigy. Constant Hitmaker. I'm not sure what to say, it just needed mentioned.

Lastly, if all the bands apart from one had to be deleted forever, I would request that either The Beatles or Aerosmith remain. Greatest Hits.