"You could just do the whole of If You Want Blood…. It’s a great album. Riff Raff was originally on Powerage and that’s my favourite AC/DC album, so hearing that song in a live environment is really exciting to me."

"When I listen to jazz, it's usually the piano guys – Bill Evans and Thelonious Monk. I'll put this on in any context: on tour when I'm sleeping, at home when I'm cooking, after a gig. When Joey comes offstage, he wants to play something loud and continue to rock, whereas I need to decompress a little more. So, depending on who gets to the music player first, it's either AC/DC or Bill Evans."

"I was in fourth grade when it came out and it was the first type of music that I liked, that my dad thought was dogshit. Before that, I was just like, ‘AC/DC is cool, I don’t know.’ When I heard Weezer I loved it and my dad was like, ‘Uh that’s dogshit.’ I was like, ‘You’re fucking wrong, Dad.’ I cursed a lot as an elementary schooler. ‘Surf Wax America,’ ‘Buddy Holly’ all are just classics."

"I think I discovered that record when I was in seventh grade. It's like a perfect album, from beginning to end, which is a difficult thing to achieve. I've been a fan of AC/DC for years. Highway To Hell is another record I think is pretty perfect. That record was so huge and it hit so hard, it was a kind of bookmarker in your life, for me and millions of people. Oddly enough we went through a few things that they had to. Down the road we would go through the loss of a member and make a decision to continue on and do it successfully. I thought it was such a brave thing for AC/DC to triumph over that sort of tragedy [the death of singer Bon Scott in 1980], to continue to have their sound, and also to have Brian on such a fucking impactful record - it’s obviously charged with a ton of emotion from losing Bon. That process, it was a fairly quick change. Brian wasn't trying to sound like Bon, but it's still AC/DC. Our band is a kind of parallel in a way. When I started I was more of a rhythm player in whatever band I played in, so I really identified with Malcolm [Young], yet I was wanting to play lead like Angus. He's a phenomenal lead player, but I've always thought the backbone of band is the rhythm guitar. I guess a lot of the bands that I like are dual guitar bands. And I actually really wanted another guitar player in this band when we first started, but the other guys didn't want one, so I had to learn to play a little bit [laughs]."

"This one is the opposite of eclectic! I was a Cult fan anyway. A lot of people at school were into goth and I wasn’t so popular because I was into rock, but I felt like the Cult fell right between the cracks of those two scenes. And then there was the Manor Sessions and the stuff that they recorded for Electric that was recorded in the more traditional cult style. And I love the story of Rick Rubin telling them to throw all that stuff away and to use Les Pauls and simple sounds – basically trying to make them sound like AC/DC. A lot of bands tried to sound like AC/DC, but the Cult doing AD/DC is its own thing, and it’s really brilliant I think. The first band I was ever in played ‘Lil’ Devil’ and that’s a pub classic, and if you’re writing pub classics then you’re doing something right I think. ‘Wild Flower’ is definitely the one for me, I love that song. The way the drummer [Les Warner] approaches it... it’s like, you know exactly what’s coming, there’s only one fill in it that’s unexpected and then you listen to it twice and you know when it’s coming. But every time the chord changes, he pushes so that he comes in slightly before the bar. And that’s actually brilliant. That’s how all rock drummers should approach rock drumming. It’s a masterclass."

"I think that most people got into AC/DC because of Back In Black and that happened to me as well, but I really wanted to explore the Bon years because Highway To Hell was a great album too. So I wanted to go back from there. I loved all of it actually. I was completely obsessed with AC/DC for a long time in fact, but the one album that really for me was head and shoulders above the rest was Powerage. It’s got songs like ‘Down Payment Blues’ and songs that people would say, ”Oh that’s my favourite AC/DC song”, because they’re trying to be cool and try and talk about their poverty and their roots and that sort of stuff, but it shows that it has a deeper poetry to it – the fact that people want to think of Powerage that way. For me it’s also got the best Angus solo of all of them. It’s on ‘Up To My Neck In You’. It goes on for ages and it’s essentially the same solo twice, but played a bit harder the second time around. It’s really good: him using proper dynamics. He has a lot of phrases that he often goes to, but it’s just the way he uses them on that solo that makes it really special. I’m definitely a Bon enthusiast. I went to Fremantle near Perth in Australia to visit his grave. I’d never been to visit any famous graves before, and we only did it because we were in Australia and had the day off, but you have an expectation of what you’re going to see tribute-wise from other people that had gone to visit it. And there was one guy had written something that had really stayed with me. You can imagine that it’s sort of like a pilgrimage out of town – there’s nothing really around the graveyard. And there’s a bench on the concrete and you can just imagine this guy there with a Sharpie going, “hmmm, now what can I say that really sums up my feelings at this point?” And he had just put: “Love your work Bon.” Ha ha, it was really powerful."