"London Calling is probably my favourite rock record of all time. It’s incredibly powerful and diverse, it’s social, political and has all sorts of musical genres - punk, rock, ska, ballads, jazz and dub - rolled into the song arrangements. The Clash were at their peak when they made it and the kick-off track is the most anthemic song they ever wrote. It’s got everything, brilliant lyrics, a brilliant performance, it just sounds killer and Mick Jones’ guitar playing is phenomenal, when you hear that guitar riff it’s like a fire alarm going off. ‘London Calling’ is like a call to arms, it makes the hair on the back of my neck stand up every time I hear it, it’s that powerful. I went to see them on that tour at the Aragon Ballroom in Chicago and it was absolutely rammed. The second they started playing the entire room started jumping up and down and I thought the building was going to collapse, you could feel the whole place shaking. It was an old theatre and I was watching from the balcony, thinking we should maybe get to a safer location but I became so immersed in the music I forgot about it, it was a fantastic show. There were obviously differences between the British and US punk bands and some of that is in the sound of the records. The British records had a bit of a darker sound to them and that could be due to technical stuff in the mastering, but a lot of it had to do with the performances. To me, the British bands have always been ground-breaking, as a whole there were better new wave and punk bands coming out of the UK than the US, it was like the second British invasion. There was a great scene in New York, The Ramones, Talking Heads, Television and Blondie were ground-breaking at the time, but England, a country with a much smaller population than the US, had a larger percentage of iconic bands from that era."

"""This would've been in my top five for sure - it's a big, big record for me. It's incredible on so many levels. If you want a record that illustrates what music can do in a very different sense, this is it. It's progressive and weird, but it shows you can make a concept album that isn't awful. I grew up in this little town called Dundas in Ontario - actually, I lived outside it, but all my friends lived in town. And this record is like a mythical record in Dundas, because one of my friends found a copy of it in the middle of the road - just lying there - and he brought it home. I wasn't doing any drugs at that point, but it was around that time my friends were smoking weed and doing mushrooms and whatever, so finding a beat-up copy of this record and putting it on it was like: ""HOLY SHIT!!!"" I still can't really listen to that track that's just an infinity symbol - I find it uncomfortable. And then there's 'The Four Horsemen' - that's like the Dundas theme as far as I'm concerned. It captures something of the eccentric spirit of this weird place that I grew up in. At the time that I found out about this record, the only reason I knew about Vangelis was because of the Chariots Of Fire theme, which was pretty terrible or definitely naff. But I love introducing people to this record because it's so far away from what they think Vangelis or Demis Roussos would do, even if you know the Blade Runner soundtrack. It's so far removed from anything that either of those guys was involved in. The music on there is so diverse; each track is completely different. Leading up to the release of the new album I was doing a DJ mix, and because of doing this feature there are now two tracks from this record on that mix! I'd forgotten how fucking good all these tracks are."""