"I was about fifteen-years-old and I had just started playing drums and somebody played this album in its entirety on the radio. My Dad had a garden centre at the time and I used to sit in the pickup truck listening to the radio – you know, in its own bizarre way [at that age], you just want to be on your own. So I remember being in that van and the radio DJ saying something about AC/DC and they put it on – I was nailed to my seat. And I'm a drummer, I've always liked rock bands and I've got a mid-life crisis band with some friends – we're called The Luddites. We just play three-piece punk or rock. We murder some of the classics for charity – that's how we get away with it. We go from Sex Pistols to Clash to Foo Fighters to Kings of Leon and so on. Really anthemic songs! Those last two bands have got an odd place in a lot of people's music world – certainly that very guitar heavy rock sound of the Foo Fighters – you would be shocked at some of the people who are into this heavy rock sound. Certain people – a mom with three kids for example – are really into this music! But it's all melodically very strong. Where were we? Oh yes, AC/DC. I made a cassette of this album. I used to drum to this album. Phil Rudd was a monster on the drums. He doesn't do anything – he's the rock Ringo. Whatever he's done needs to be done. People take the piss out of Ringo but everything he did was where it should be. How did I change from being a drummer to a singer? I borrowed a guitar from a guy in the band and fumbled through a few chords and tried to write songs and I became the singer because of that."

"I love Power, Corruption & Lies. I also love Movement and I play it all the time, as it was the first album after Joy Division. It still has a bit of that Joy Division darkness, almost with a sense of defeat about it, which is kind of how I felt when I was a teenager in the late fucking '70s. But I think Power, Corruption, the record after it, there's more light in it. It's more joyous, it's more lyrically lighter. And I think Bernard Sumner found his own voice, loosened up and just became Bernard when he came out of Ian Curtis's shadow. This album is a huge inspiration and I was fascinated at the time by the way that New Order would take electronics and the sequencer sound, which I loved from Donna Summer's 'I Feel Love', and they took it and applied it to rock & roll. They first did this with 'Temptation', which was released before 'Blue Monday'. I was previously in a band on Factory called The Wake and we'd opened for New Order. I'd had a tape recorder and I'd recorded some of their shows. They were playing 'Temptation' live, long before it was released as a single. I was obsessed by the way they took that tut-tut-tutut-tut-tut-tut sequence inspired by Donna Summer and Giorgio Moroder's arpeggio sound. To this day, that's still a big influence on Primal Scream. I'm just saying thank you to Bernard, Hooky, Stephen and Gill because I remember buying that record when it came out with a beautiful Peter Saville sleeve. The reason there's no writing on the album cover of Screamedelica is in total homage to Saville and Factory Records. A lot of our albums have no writing on the cover either. I mean, 'Age Of Consent': What. The. Fuck. Is. That? Playing with New Order back in the early '80s was like a fucking dream at the height of their fucking power!"

"When you inevitably are asked about your favourite record, you can scratch your head and go through a list, because your taste changes from year-to-year or through different periods of your life. However, I have always been able to say that Raw Power is my favourite from the moment I first heard it, and I don't think it has been equalled since. A couple of friends recommended it to me. At the age of 14, I was starting to play guitar in a certain way and the name [of Stooges' guitarist] James Williamson kept cropping up. A couple of guys I knew assumed I had been listening to Raw Power because of the way I was playing riffs. So I thought I had better investigate. I knew all about Iggy and The Stooges but I wasn't aware of Raw Power. I got the album in about 1976. I had heard so much about it that eventually I want into town to buy it and I picked up a copy for about three quid, which was all I had. The cover alone made me want to buy the record, and, when I heard it, I realised why my mates had been saying what they had. In particular, the song 'Gimme Danger' started off with a riff that was very much like one I was playing with the band I was in at the time. As a guitarist, James Williamson's playing struck me as having the technique of Jimmy Page but with the irreverence and attitude of Keith Richards. I have since become friends with James and have talked to him about what he was doing back then. He knew exactly what he was doing and it was very deliberate, which is always quite impressive. There is a lot more I could say about Raw Power. It gave me a path to follow as a guitar player. It was an opening into a world of rock & roll, sleaze, sexuality, drugs, violence and danger. That's a hard combination to beat."