"I love all the early stuff - the work rate was insane. In the time we took to do two hi hats on Hysteria they'd done an entire album. Mott was when they really got it together. I didn't think the album they did with Bowie - All The Young Dudes - was a great album. It had its moments but you could tell Bowie had put all his efforts into the one song: the rest of it was a little bit thin. Cut to a year later and they're in on their own and they're basically pushed to the deep end - sink or swim. Everybody in the media had said 'what are you going to do without Bowie?!' but Ian stepped up to the plate, he really did. He came up with truly brilliant songs. Stuff like 'Violence' was taken to a completely new place, with Graham Prescott playing violin. He'd worked with Elton John. Then it ends with the most beautifully understated song 'I Wish I Was Your Mother' - the lyric, the title even. It's a really well made record. I remember Mutt used to test speakers with 'All The Way From Memphis'. As did Roy Thomas Baker, as a matter of fact. They proved they could stand alone with this one."

"My dad used to sing Sinatra songs all the time around the house. He used also sing Burt Bacharach and different things like that. And you grow up with your parents' music whether you want to or not. But in a bizarre way, my dad was one of those guys who would just constantly sing – I don't mean while shopping in the Co-Op or whatever – but he would just sing at home all the time. Actually, I just did a thing with Ronnie Scott's big band at Cheltenham Jazz Festival the other week and I remember those songs the way my dad sang them which means I remember them with completely wrong lyrics – he didn't know the actual words! He used to that with lots of things – he'd sing 'Jerusalem' with the line "and did those feet, those WHACKING great feet" for some reason! I'm sure a lot of dads and mums used to do it. This particular album was produced by Quincy Jones and features the Count Basie orchestra. So it's meant to have been a golden era of Sinatra doing the Vegas years because it was still in the part when songs were arranged with a big band and orchestra. But then you remember Quincy Jones produced Michael Jackson – so there's a weird connection there. I used to speak to jazzers about songs we were doing and they would ask 'are we doing the Sands version?' – I needed to find out what that actually meant! But it's just amazing to be in that room for a second. Some of that – some of the Elvis in Vegas stuff too – becomes mythology. A lifestyle. Like Elton John or Celine Dion although I don't mean that in a derogatory way. And I certainly don't think it's derogatory now. It affords people to put on a show they couldn't possibly do anywhere else. they can afford to go completely over the top with it. Would I like a Vegas period? I'd LOVE a Vegas period! Bring it on! I don't think I have the material – I've seen Elton do these massive three hour stint gigs but he has the songs to back them up. I just don't think I've got that material. Although maybe I could do something in Vegas though…"