Before he talks about his selection, Trevor details why these ten tracks, in particular, are his go-to tracks when he thinks about the new ways the decade challenged notions of production. "I picked 1985 and earlier because I think the early '80s was an incredibly productive time - mainly because of the technology being produced," Jackson says. "At that point in time, there was a transition from modular and expensive synths to very expensive samplers but also cheaper gear. With some drum machines and 808s and other equipment that come out in the early 80s, you can't imagine now what it was like to pick up these inventions for the first time.
"These people set the foundations for everything that came after. It was such as highly prolific time because of the technology and that it was technology driven. These people pushed things with their imagination to get the best out of their resources. You had such little sample time, so you had to be creatively quickly. Now, you can sample an infinite amount and take it anywhere."
Trevor Jackson: "I picked this remix by Adrian because we couldn't licence it for the compilation. For some stupid reason, Depeche Mode wouldn't let us. Adrian did a remix of People Are People and completely deconstructed it. My introduction to Adrian was around this time and at the time Adrian was remixing industrial bands and weird shit. It's from a different planet and is so unrelated to the original that it's practically mayhem. It's really sad that it can't be on the compilation, but it's still phenomenal and still one of his best work."
Trevor Jackson: "For me, this is one of the first British house records; considering everyone talks about Jesse Saunders in 1983 making the first house record ever, John Rocca was well ahead of his time. It was mixed by Arthur Baker and John Rocca used to be in the band Freeez where he was making big pop-electro records like I.O.U. John Rocca is someone that many people don't talk about, but he was hugely important. If you hear this record, it is a house record, even though it is from 1984. As a kid, I used to follow producers more than bands and Arthur was one of my heroes. I bought every single thing that had his name to it. I didn't necessarily realise how influential it was when it came out, but now you hear it, it's become a really important piece of work."