"That's pretty obvious. When I got turned onto it, I was like, "Okay, I'll pick up the guitar!" My favourite parts of it are the sonics. It's nothing like anyone's heard. Pete Townshend was like, "Alright, I quit the guitar." [laughs] That instrumental, 'Third Stone From The Sun', boy, how good is that? There's a video of Stevie Ray Vaughan - have you seen that? He did it fucking note-for-note! It's incredible! It's like, "Who the fuck is this guy?!" I just love it. I would say around 12 years old when I bought it. Then, I loved the poppier ones, like 'Fire' and obviously 'Purple Haze', had to learn that riff. I figured out what he was playing through a painful process. I'm not as fluid on guitar as my little brother, who can hear it once and just do it. That song has a chord, an E7#9 - I use it a lot! I use it on 'Tame': it's the one where everyone's hitting three chords and I'm hitting that chord and that's all I'm hitting. It's one of those chords that's either a question mark or an answer. It's very neutral, but more interesting than a major chord."

"Oh my gosh, that was another pivotal moment. Queen – for me – is the most unique rock band in history. I love Deep Purple, Zeppelin and all those rock bands from that time but nobody sounded like Queen and nobody could sound remotely like that. There was a magic to them – almost like the band was blessed with something. That band was such a perfect storm because with Freddie Mercury, how could you even quantify his confidence? You couldn’t –it was boundless and he just expressed that constantly in the music. The way Brian May approached the guitar was absolutely unique. You can compare me to other guitar players, you can compare Page to other players but you can’t compare Brian May to anybody because his touch on the instrument had a life of its own and the way that he heard the songs and was able to apply this unbelievable touch to serve the song – as opposed to just saying ‘here’s a guitar solo’ –meant he was the sound of Queen. In fact everyone in that band was the sound of Queen. When ¬Queen II came out it was the most musical, aggressive rock record of that period, for me."

"This is a brilliant, improvised, one take illustration of the constant inventiveness of Colin Fisher, who plays guitar and saxophone on my new album. It’s music in a very different context from what I make in some ways, and yet when he came to record with me on Suddenly, he was just as at home in that world as he is here"

"The third of the trinity, and definitely the holy ghost of the analogy. The DKs were more sarcastic, political, and just plain weird—I think East Bay Ray's guitar work is hugely underrated, and they were generally musically more interesting than a lot of their peers. I could have picked any of their records, really, but this one has the classics."

"This was a life changing record for me because, up to that point, I was lost. Really disenfranchised. I really hadn't found anybody else who was singing my song, so to speak. But Bon [Scott] really embodied everything that I thought a frontman should be. And between Malcolm and Angus [Young] I knew of no guitar duo at that time that touched them."

"You may have noticed a pattern here with most of these bands having a dual guitar attack. Same story for the Schenker brothers, throwing down together... Besides, I've always loved the artwork. The guy who did that cover, Storm Thorgerson, just passed away. He did all those classic records. He did that cover, with the bubblegum on the tit [The Scorpions’ Lovedrive.]"