"They were on Casablanca Records. They were the yin to Kiss’s yang. Kiss were dressed up in black and Angel were in white. They had this remarkable guitar player called Punky Meadows who Frank Zappa actually made fun of in songs. But he had some remarkable songs like Tower and Any Way You Want. They were almost proggish to a degree, but really great songs. I always wondered about doing a cover of the song Tower. The singer had this really weird voice. You have to be super open-minded to appreciate it because he has such a super-fast vibrato, and a lot of people won’t find that appealing. But they were one of my favourite bands growing up."

"If you want to persuade people to give Frank Zappa a second go, you play them 'Trouble Every Day', it's one of the greatest songs ever, and it sounds like it could have been off one of the first two Velvet Underground albums. Again this is an album that Mark Smith played me. Just the other day I played 'Concentration Moon' in which he's having a go at the VU. He hated everyone, the Velvet Underground, the beatniks, the hippies… it was a landmark album because it was the end of hippie culture. People say it was after the stabbing at Altamont but musically this was it. It has the Beatles referenced in the pastiche on the cover. It's really fabulous, really cynical."

"This is the album with 'Brown Shoes Don't Make It'. What colour shoes are you wearing? Black? Phew. It was the absurdity that I liked in Frank Zappa - this album also had 'Call Any Vegetable'. It was stuff that just didn't make any sense, but they played so well they must know what they're talking about. That was why I liked Soft Machine as well: "Hope for happiness! Happiness! Happiness!" What? I never knew what it was. And that was like The Sensational Alex Harvey Band and Arthur Brown, too. Unpredictability is what I like most in rock bands. But only when it's done well. Like with The Who - they had great pop songs, and then they had 'Boris The Spider'."

"I was going to go for ‘Call On Me’ from Safe As Milk but it has to be ‘Sure 'Nuff 'n Yes I Do’, which is probably my favourite ever Beefheart song. If I do any DJ’ing or I’m doing a party I open the set with this song. There’s just something about it, the groove on it was something I found really inspiring, again I guess it’s rooted in Rock and Roll, but it’s the way the beat is performed where it really helps the song to motor along. “I first heard this song way back. We used to listen to Frank Zappa a lot and Hot Rats was my favourite record for a while. I know Zappa divides a lot of people, but I think sometimes it’s misunderstood. People see it as this really annoying, muso stuff, which I definitely think it was later on at times, but I’ve always been intrigued by the rawness of early Zappa, how he used Beefheart and how he collaborated with him was always really interesting. I always look at it as really raw, they were all really good at their instruments and really good players but not musos at all. I thought it was raw, exciting and on the edge, but then the late ‘70s came along!” “What I love about Captain Beefheart and this track is the off-kilter rhythms, the instrumentation, the surreal, strange lyrics and the directness of it with its economic structures. This track is insane and sometimes he gets really abstract, which is cool in a different way, it’s kind of like all of it to be honest for different reasons, but ‘Sure 'Nuff 'n Yes I Do’ is like a party track, it’s just dirty and wonderful."