"Like The Chameleons, they should be playing stadiums, or should've at their time. This album is one of the standards of great American music. Some of the songs here are up there with some Frank Sinatra tracks, some Bing Crosby moments. Like 'Unsatisfied', for instance, that's a pop standard worthy of Billie Holiday. Again, they couldn't seem to get out of their own way for a period of time. The thing with The Replacements is if you ask Wayne Coyne, Michael Stipe or J Mascis, they were the ones that would say: ""The Replacements, that would be the band to be in."" They were everybody's band before they made their own band. They almost would have been what The Velvet Underground was at the time for the bands around them. They also had that catalysing effect of being crazy - they had a nonchalance that most could only dream of. At times they had a recklessness, which put them a few steps behind where they should've been, but that was The Replacements. And it was the first time that the bands we loved actually made a real record. Their songs were going to stand the test of time, songs that we were all going to cover. I know it was like that being around a lot of the bands during the mid-'80s. They had that magnetism Sonic Youth had, but had songs we could all cover, sing and play. Now you hear stories of them playing to 200 people at Coachella and you can't believe how it didn't translate to the younger generation."

"I listen to this record all the way through - even 'Moby Dick'. To me it encapsulates the Led Zeppelin sound, because the engineering on it is so magnificent. The fact that a four-piece band can sound so vast. Obviously there are great tracks on III and IV. But I feel that II is the most complete album. It's amazing to find out they recorded it mostly on tour. Extraordinary. It sounds like it was recorded in one room. I think it's accounted for by the fact they just sound like that. They just sound that magnificent. I was not a huge fan of the first album. I remember reading the story about how, I think it was Glyn Johns again, the story about him playing it to George Harrison, and George Harrison didn't really get it. I wonder if he had played him Zeppelin II he'd have got it. I is not my favourite. On II it felt fully realised. They'd pulled away from that influence of blues; it was still there, but they'd merged it into their own thing. Which again I think is something that people don't associate with Simply Red – we've been enormously influenced by African American music, but we've been influenced by it from a different era. The marriage between black and white started with Bing Crosby and Frank Sinatra and George Gershwin and all these people that ran through music, right through to Elvis, to Jagger, to Robert Plant – we've all in our own ways been enormously influenced by African American music. But the real thing to celebrate is that we made something different out of it. We didn't just copy it. The British especially turned it into something else. It became what we now know as rock music. The Beatles and the Stones are the people who can justifiably claim to have invented what we know as rock music. Not rock & roll, not R&B, not blues, but rock. And that is something to celebrate."