"They were in my opinion one of the best West Coast bands from the 70s. I got this album around 1970; I can't remember what year it came out, 68 or 69, something like that. It's got one or two unbelievable tracks on it: 'Ice' and the title track. Both are amazing instrumental pieces which are really like nothing I'd ever heard before. They're jazzy but they have a flavour, a rhythm of something else. Some of the songs are okay and some of the songs are a bit silly. I had a little square Dansette and a tiny room when I was a kid and the room was twice the size of the bed, and I used to lie on my bed with the speaker next to my ear. And I remember it being very hot and listening to that album and feeling like the music had captured the heat in a way that no other music that I'd heard actually did. So I always associate it with heat. And I always figure that if somebody knows about Spirit then they probably know quite a lot about music. And the guy who produced it is the guy who later went on to produce Carole King, and he was interviewed for the NME. At the time Carole King was regarded as being super unhip, and the journalist said oh, you produced the Spirit album; they were fantastic. And the guy said oh, I didn't really understand the music, which I thought was stupidly disingenuous, because actually he brought a really interesting touch to it."

"Raw Power for me is the greatest rock & roll record of all time. I wish Bruce Dickinson [executive producer of controversial 1997 remix attempt] had never got his paws on it. I loved the original mixes, because that’s how it should sound – the guitars are miles too loud for a normal record you’d think, but just the way the guitars come in it’s perfect. I was watching this thing on telly about Vikings disembowelling people and it’s almost like that. The guitars have angles. People go on about Exile On Main Street, which is a blues record with no tunes, but Raw Power is unbelievable. I bought it just for the cover and the titles on it. ‘Search and Destroy’, ‘Gimme Danger’ - it was right up my strasse. I was 13 or 14. I loved Iggy when I was younger, still do. I can do without all the more Motörhead stuff – he’s lost some of the finesse now. But what a song ‘Gimme Danger’ is – none of the songs hang about. Every second is important. His voice influenced the way I sang a lot. Whenever we played America Iggy would turn up, and we got on fairly good speaking terms. We were playing in New York. It was like a football changing room backstage. I was having a slash – probably in the shower, and I heard someone. I walked out – obviously not with my knob out – and it was Iggy with a tight leather jacket and blue suede shoes. He looked fantastic, and I said, ""what are you doing here?” And he said, “I always come and see your shows.”"

"Jonathan Richman sounded a bit like Lou Reed. The songs were fantastic. The only place you could buy that album was the Rock On store in Camden Town. I think everybody, including John Rotten and all of the Pistols, had been down there at some point to buy it. Anybody that later got into the punk rock scene had bought this record. It still sounds really good. John Cale produced it. It's under-produced if anything, which is what's so good about it. His voice is great. American punk rock was completely different from the London scene – you had Richard Hell & the Voidoids and Television and that, and it all seemed a bit arty. But this was four college kids from California who had got together and made a dark record. It sounds like a guy who's had his heart broken. It's a romantic punk record, really. 'Roadrunner' is the one everybody learnt when they were rehearsing or trying to get into a band. The way he sang, he just sort of threw it away. I can't really think of anybody who'd done it like that before. The solos were great, just one or two notes. Very simple stuff, which was what appealed to the punks. The whole punk thing was about stripping things down because people couldn't play very well. Get the band first and worry about the music later. I saw Jonathan Richman last year doing a festival somewhere, just him and a drummer. He's the only person I know who tells the sound guy to turn it down. But back then he was streets ahead of everyone."