"They were very theatrical. Alex Harvey was 40 something, he was an old guy. And - at the time - that was ancient for rock n roll. He won the Scottish Tommy Steele competition in 1957. The prize? Meeting Tommy Steele! What a bizarre business. That was two years before I was born and he must have been in his late teens/early 20s by then. To be in your early 40s and starting out was unheard of. David Bowie and Alex Harvey knew each other, actually: they bonded over a shared love of Jacques Brel. 'Faith Healer' is one of the best things that ever came out of the 70s. And the end triplet of 'Last Of The Teenage Idols' – which is about the competition that he won. That was amazing. I loved his voice: he screamed his way through life. His version of 'Crazy Horses' is hilarious. He did a song called 'There's No Lights on the Xmas Tree Mother… They're Burning Big Louis Tonight'. It was about a guy in the electric chair who takes all the power off the grid on the night of his death. Nobody in this little town in America gets the Xmas lights. What a brilliant idea for a song. It was theatrics and bravado. Alex Harvey was off kilter - it wasn't like The Sweet or Mud, he was musically brilliant."

"This was the first band I ever saw. I went to see The Who at Charlton in 1974, when I was 12 or 13, and we bunked in, and supporting The Who was Alex Harvey. And, fuck me! He had this sort of fake brick wall, and he burst through and started singing ‘Framed’ and it was just a fucking revelation. It’s funny because I’ve been looking at a bit of him on Youtube recently, interviews that he did, and what a fucking character. The bits of film that are left of him, there’s a clip of him singing ‘Framed’ at some festival, and he pours a bottle of beer over his wild curly hair and turns it into a quiff with his hand. It was only when Jerry Leiber from Leiber & Stoller died recently that I realised they wrote that song. He shocked me, with the theatricality, the fearlessness, just doing what the fuck he wanted. They had this song called ‘The Faith Healer‘, which I heard made Johnny Rotten want to be in a band. Just outrageous, but charming and intelligent too. And they did a version of the Jacques Brel song, ‘Next‘, which was just fucking brilliant. He weren’t around for very long, but I have a lifelong love of his work. Just that mixture of comedy and… terror. Perfect!"